Professional Documents
Culture Documents
Godisnnjak FF Novi Sad XXXV 2 2010
Godisnnjak FF Novi Sad XXXV 2 2010
2010
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XXXV-2
M
ANNUAL REVIEW
OF THE FACULTY OF PHILOSOPHY
VOLUME XXXV2
NOVI SAD
2010
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: +381214853900
www.ff.uns.ac.rs
2010.
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SADRAJ
...... 5
KAO ,
-
PRINCE MARKO AS A CULTURAL HERO
AND A DEMIURGE IN BELIEF TALES ................................................................... 13
XIII XIV
THE ESRANGEMENT AND DETACHMENT FROM THE WORLD
IN THE 13th AND 14th CENTURY HAGIOGRAPHIES ........................................... 27
Mr Nikolina Zobenica,
SAMOREFERENCIJALNOST U GETEOVIM VENECIJANSKIM EPIGRAMIMA
SELF-REFERENCE IN GOETHES VENETIAN EPIGRAMS ................................... 37
Dr Vladislava Gordi Petkovi
GINOKRITIKO OTKRIVANJE ENSKE KNJIEVNE TRADICIJE
U OKVIRIMA AMERIKOG KANONA
GYNOCRITICS AS SELF-DISCOVERY:
WOMENS LITERARY TRADITION WITHIN THE AMERICAN CANON ................... 47
Dr Ljiljana Mati
DANIEL DANI CHANTRE QUEBECOIS DE LA NATURE
DANIJEL DANIS, PESNIK KVEBEKE PRIRODE ................................................ 57
Dr Kornelija Farago
REFERENCILIS MEZK, FIKCIKPZ AKTUSOK
REFERENCIJALNA POLJA Referencijalna produktivnost fikcije ............................. 69
Mr Nataa Karanfilovi
PARADIGMA UZVRAANJA PISANJEM
U ROMANU DEK MEGS PITERA KERIJA
THE WRITING BACK PARADIGM IN JACK MAGGS BY PETER CAREY .......... 75
8
Mr Ivana uri - Paunovi
TEKST I GRAD: PREDSTAVE URBANIH PROSTORA U SAVREMENOJ
AMERIKOJ PROZI
TEXT AND THE CITY: REPRESENTATIONS OF URBAN SPACES
9
INFLUENCE OF MATHEMATICAL SYMBOLS
IN CREATIONS OF ION BARBU ............................................................................ 167
Dr Jarmila Hodoliova
PREHAD DEJN SLOVENSKEJ LITERATRY PRE DETI
A MLDE VO VOJVODINE DO ROKU 1970
HISTORY OF SLOVAK LITERATURE FOR CHILDREN
AND ADOLESCENTS IN VOJVODINA UP TO 1970 ............................................ 177
Dr Adam Svetlik
PREMENY LITERRNEJ KRITIKY VOJVODINSKCH SLOVKOV
V ASOPISE NOV IVOT
PROMENE KNJIEVNE KRITIKE VOJVOANSKIH SLOVAKA
U ASOPISU NOVI IVOT ..................................................................................... 183
Dr Miroslav Dudok
INTERLINGVLNE A INTERTEXTOV PROSTRIEDKY V DIELE MARTINA
KUKUNA
INTERLINGVALNA I INTERTEKSTUALNA SREDSTVA
U DELU MARTINA KUKUINA ............................................................................. 201
Dr Tvrtko Pri
DESCRIPIVISM OR PRESCRIPTIVISM IN TEACHING LANGUAGE AND
LINGUISTICS AT UNIVERSITY LEVEL?
DESKRIPTIVIZAM ILI PRESKRIPTIVIZAM U NASTAVI JEZIKA
I LINGVISTIKE NA UNIVERZITETSKOM NIVOU? ............................................ 211
Mr Aleksandar Kavgi
PRAGMATIC STRATEGIES OF DESCRIBING MERCHANDISE CONDITION
IN ENGLISH AND SERBIAN
CLASSIFIED ADS - CORPUS-BASED INVESTIGATION
PRAGMATIKE STRATEGIJE OPISIVANJA STANJA ROBE
U MALIM OGLASIMA NA ENGLEKSOM I SPRSKOM JEZIKU ........................ 219
10
Dr Sneana Guduri i dr Dragana Drobnjak
QUELQUES INTERFRENCES SMANTIQUES ENTRE LE FRANAIS,
LITALIEN ET LE SERBE
SOME SEMANTIC INTERFERENCES BETWEEN FRENCH, ITALIAN
AND SERBIAN LANGUAGES ................................................................................ 233
Mr
O /
N THE USAGE OF THE PARTICLE/CONJUNCTION DA
IN THE MEDIEVAL NOVEL SERBIAN ALEXANDRIDA .................................... 243
Ana Halas,
THE PRESENT AND PAST PERFECT IN MIDDLE ENGLISH
SADANJI I PROLI PERFEKAT U SREDNJOENGLESKOM ............................. 259
POINT OF REFERENCE IN ENGLISH AND SERBIAN TENSES ........................ 271
Dr Sabina Halupka Reetar
STRUKTURNI TIPOVI ARTIKULACIJE FOKUSA
U ENGLESKOM I SRPSKOM JEZIKU
STRUCTURAL TYPES OF FOCUS ARTICULATION
IN ENGLISH AND SERBIAN ................................................................................... 279
Dr
KAUSATIVITT UND DEKAUSATIVITT
ZWEI FORMEN EINES KONZEPTES .................................................................. 293
Mr Nataa Milivojevi
SINTAKSIKI SUBJEKT KAO TELEOLOKI AGENS UZ GLAGOLE
EMITOVANJA ZVUKA U ENGLESKOM I SRPSKOM JEZIKU
SYNTACTIC SUBJECTS AS TELEOLOGICALY CAPABLE AGENTS
IN ENGLISH AND SERBIAN DIRECTED MOTION CONSTRUCTIONS ........... 303
11
Dr Ljubica Vlahovi,
LES RELATIONS DTDENTITE ET DALTERITE DANS LES PHRASES
COMPARATIVES DU FRANCAIS ET DU SERBE
RELACIJE IDENTITETA I ALTERITETA U KOMPARATIVNIM REENICAMA
FRANCUSKOG I SRPSKOG JEZIKA ...................................................................... 313
,
(O)()
LEXICAL AND GRAMMATICAL COLLOCATIONS WITH THE SERBIAN
VERBS DRATI AND ODRATI / ODRAVATI AS OPERATOR VERBS ............. 325
Mr Biljana Radi - Bojani
NEKI ASPEKTI PRIMENE POJMOVNE METAFORE U NASTAVI JEZIKA
THEORETICAL AND APPLIED ASPECTS OF CONCEPTUAL METAPHOR ....... 335
Mr Aleksandra Blatei
THE CONCEPTS CHEAP AND EXPENSIVE IN ITALIAN LANGUAGE .......... 347
O
REMARQUES SUR LA LANGUE DU PRFACE
DE LANTHOLOGIE BECARAC ......................................................................... 359
GRAMMATICAL DICTIONARIES IN LEXICOGRAPHY ..................................... 369
SEMANTICAL-DERIVATIVE STATUS OF MOTIVATED LEXEMES ................. 381
Mr Gordana Risti
KONTRASTIVNA ANALIZA NEMAKIH I SRPSKIH POSLOVICA
U TEKSTU NOVOG ZAVJETA MARTINA LUTERA
I VUKA STEFANOVIA KARADIA
12
CONTRASTIVE ANALYSIS OF GERMAN AND SERBIAN PROVERBS
IN THE TEXT OF THE NEW TESTAMENT
MARTIN LUTHER AND VUK STEFANOVIC KARADZIC .................................. 393
Dr Utasi Csilla
EGY KZPKORI LATIN PRETEXTUS, A DIALOGUS SALAMONIS ET
MARCOLFIS 15 16. SZZADI NMET S MAGYAR FORDTSAI
NEMAKI I MAARSKI PREVODI IZ 15. I 16. VEKA SREDNJOVEKOVNOG
LATINSKOG PRETEKSTA DIALOGUS SALOMONIS ET MARCOLFIS ........... 403
Dr Laura Spariosu
UN ASPECT AL CALCULUI LINGVISTIC
N LIMBA ROMN N VOIVODINA
POGLED NA LINGVISTIKI KALK
U RUMUNSKOM JEZIKU U VOJVODINI ............................................................. 413
Dr Anna Makiova
VERBLNA A NEVERBLNA KOMUNIKCIA V MATERSKEJ KOLE
VERBALNA I NEVERBALNA KOMUNIKACIJA NA PREDKOLSKOM
UZRASTU .................................................................................................................. 421
Mr Olga Pani Kavgi
MITIGATED DISAGREEMENT IN DIALOGUES SELECTED FROM AN
AMERICAN AND A SERBIAN FILM
UBLAENO NESLAGANJE SA SAGOVORNIKOM
U DIJALOZIMA IZ AMERIKOG I SRPSKOG FILMA ........................................ 429
COGNITION PROCESSES OF SYNTACTIC TERMS IN TEACHING
OF SERBIAN LANGUAGE ...................................................................................... 429
. XXXV (2010)
Annual Review of the Faculty of Philosophy, Novi Sad. Volume XXXV (2010)
zoja@ff.uns.ac.rs
UDK 821.163.41-13:398
Originalni nauni rad
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: It has been noted long ago that biographies of various ancient and medieval figures follow similar patterns, i.e., they are legendary (Jason,
87). , , : E, A
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, .
: pic hero biographies, which basicaly are composed of two parts: (1) a frame which consists
of birth and growing up stories, and of end-of-life stories which may include various ways of decline,
death and burial of the champion-protagonist.
. biographic epic. These parts of the biography, as the corpus has shown, may contain:
myth, legend (sacred legend, legend of fate). (2) The middle part of the biographies are close to what Jason
calls episodic epic tradition (Jason, south Slavic, 55). They also contain epic stories of various epic
subgenres, like: myth, sacred legend, legend of fate, novella (wisdom novella and swindler nowella). And
it is neceserly to mention that similar contents may belong to different genres, depending on the properties
of the characters. Acording to Jason incidents 211 code the: Birth and growing-up stories the middle part
12-16: A life of a grown up, active hero; and incidents 17-21 code ways of Decline, death and burial of the
protagonist (Jason: part D.1 Biographic Practice of Epic Tradition, manuscript. p. 4).
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: Bascom 1987: 224-228.
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(T 1922: 216), M. (: . 116, 796)
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186, 813). (T 1913: 46-47 49-50; T 1922:
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(Meletinski 1983: 226). M. ,
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1922: 70)20, ( 1922: 70),
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936). . , , / (: .
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1922: 447-448).
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par excellance,
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. 180). -
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51, 780), (T 1913: 86); (: . 43,
777)22, ( 1913: 88-89; T 1922: 445; . 44-51, 777-9);
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1932 . ,
, 1932.
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, , 2002.
1964 , , , XVI, ,
1964, . 1-2.
1973 . . , ,
VI, 1973.
Prop 1990 Vladimir Ja. Prop, Historijski korjeni bajke , prev. Vida Flaker, Sarajevo,
1990.
2008 a, ,
, , 2008.
a . , III, . . , . , , 2004.
2001 , . , ,
Zepter, , 2001.
1913 , K , ,
, Beograd, 1913.
1922 , K , , , 1922.
Turner 1969 Victor Turner, The Ritual Process, Chichago, 1969.
Zoja Karanovi
PRINCE MARKO AS A CULTURAL HERO AND A DEMIURGE IN BELIEF TALES
Summary
Historical prototype of the most popular hero of Serbian as well as Balkan Slavs
classical folklore is Prince Marko, who was the last crowned Serbian king Marko (1335/1394).
There are many belief tales about this hero. During XIX and XX century, hundreds of them
were recorded. They are generally based on various events from the heros life. Very important
26
among them are stories about Markos various enterprises. This paper gives a description of
these stories as well as an analysis based on their nature as cultural and cosmogonic actions.
His doings leave traces in the topography, which is why all these stories could be read in a
mythical context.
. XXXV (2010)
Annual Review of the Faculty of Philosophy, Novi Sad. Volume XXXV (2010)
natasapolovina@hotmail.com
UDK 821.163.41:929"12/13"
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, (2009).
. Philologia Mediana. I/1: 39-47.
, (2003). .
: .
, (1978). . : .
, (1991). II. II : 237-244.
Ladner, Gerhard B. (1967). Homo Viator: Medieval Ideas On Alienation And Order.
Speculum. A Journal Of Medieval Studies. XLII/2: 233-259.
, (1999). . : CLIO.
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, (1999). . .29/2:
21-34.
Ma, (2009). . : .
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II:61-85.
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. : CLIO.
36
, (2006). . : .
, (1976). II. . IX/33: 3-71.
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Nataa Polovina
THE ESRANGEMENT AND DETACHMENT FROM THE WORLD
IN THE 13th AND 14th CENTURY HAGIOGRAPHIES
Summary:
The exemplary living, betterment and the spiritual development, as the topoi of the medieval
literature, essentially are based on the idea of estrangement and detachment from the temporal
terrestrial world. This paper deals with some examples which illustrate the evolution of that
idea from The Life of Saint Sava by Domentijan and The Life of Saint Sava by Teodosije to The
Lives of the Serbian Kings and Archbishops. While in Domentijans and Teodosijes books,
through the topos of alienation from the world and foreignness, reclusive and pilgrimaged
identity of Saint Sava is formed, in The Lives of the Serbian Kings and Archbishops the idea
of estrangement from the world has a different function. A hero of 13th century hagiographies
is taking Christ as the role model, symbolically repeating His foreignness, and therefore
merits the Heavenly Kingdom; in 14th century hagiographies, on the other hand, Saint Sava
becomes the role model which has to be imitated, the figure of an ideal alien from the world.
This paper aiming to mark the most illustrative passages which give evidence of the evolution
of this important topos of the hagiographic literature, and to outline a possible path to further
and more comprehensive exploration on this subject.
Keywords: estrangement, detachment, alienation, pilgrimage, topos, hagiography,
role model.
. XXXV (2010)
Annual Review of the Faculty of Philosophy, Novi Sad. Volume XXXV (2010)
Nikolina Zobenica
nikolinazobenica@gmail.com
SAMOREFERENCIJALNOST
U GETEOVIM VENECIJANSKIM EPIGRAMIMA1
U teoriji sistema Niklasa Lumana samoreferencijalnost igra kljunu ulogu, jer preko
nje sistem ostvaruje svoj identitet u odnosu na okolinu i odrava se kao takav. Iako se prevashodno dovodi u vezu s postmodernom knjievnou 20. veka, moe da se uoi i u ranijim periodima evropske knjievnosti, izmeu ostalog i u Geteovim Venecijanskim epigramima (1790).
U radu e se razmatrati samoreferencijalnost u ovom ciklusu pesama, sa ciljem da se utvrde
karakteristike prikazanog pesnikog sveta kao zasebnog autopojetikog supsistema, koji stie
svoj identitet u diferencijaciji i interdependenciji sa svetom koji ga okruuje.
Kljune rei: teorija sistema, samoreferencijalnost, pesnitvo, Venecijanski epigrami
Termin samoreferencijalnost [Selbstreferenzialitt], odnosno ukazivanje na sebe kao na jedan od svojih predmeta (Luman 2001: 50) ili autoreferencijalnost, odnosno izvetavanje o samom sebi, upuivanje na samog sebe (Milenkovi
2004a: 5) potie iz socioloke teorije sistema. Koristi se i u domenu filozofije, zbog
ega pojedini autori smatraju da je za knjievnost prikladniji termin samorefleksija,
jer se samoreferencija pre odnosi na logike iskazne reenice (Cramer 1999). U
okviru prouavanja moderne knjievnosti, televizije i filma pria u prii ili predstavljanje sebe samog kao sastavnog dela predstavljenog, na primer, knjige u knjizi, naziva se mise-en-abyme (Literary Terms; metaliteratur). Meutim, u nauci
o knjievnosti se sve vie koristi termin samoreferencijalnost (up. Paluch 2002;
Milenkovi 2004ab; Popovi 2007; Deutschmann). Postoji i niz pokuaja da se teorija sistema prilagodi nauci o knjievnosti i da se Lumanova razmiljanja iz teorije
drutvenih sistema prenesu na knjievnost (up. Kppe; Winko 2008: 175), pa tako i
jedan od kljunih pojmova ove teorije, samoreferencijalnost. Paralelna upotreba rei
autoreferencijalnost i samoreferencijalnost dovodi do nedoumica i zablude da su
1
Ovaj rad rezultat je istraivanja u okviru meunarodnog projekta Odseka za germanistiku u Novom Sadu i
Odseka za nemaki jezik i knjievnost na Pedagokom fakultetu u Frajburgu (Nemaka), pod nazivom Samoreferencijalnost u lirici [Selbstreferenzialitt in der Lyrik], 2008-2010.
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Nikolina Zobenica
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Nikolina Zobenica
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Nikolina Zobenica
stvaranja, sa eljom da taj proces traje, da muze za svog prijatelja pesnika sauvaju
jo veu naklonost (isto: 238, 81). Dok god mu je Midina sudbina, da sve to dodirne
pretvara u pesmu, on se ne buni, samo moli muze, da mu dragu koju je vrsto prigrlio,
ne pretvore u bajku (isto: 241-242, 100).
U procesu stvaranja, pesnik je stalno prinuen da vri selekciju da bi izrazio
svoje misli i oseanja. Izbor rei predstavlja medij za ukazivanje na okolinu i na
samog sebe i od izbora rei zavisi umetnika vrednost dela. Samim izborom rei,
novom kombinacijom i drugaijom upotrebom jezika kao materijala, umetniko delo
skree panju posmatraa sa sadrine (ta) na opaanje forme (kako) (Luhmann 1995: 47, 238). Forma nastaje selekcijom mogunosti koje medij prua, tekst
predstavlja jedinstvo razlikovanja okoline i sistema, dok je sam in pisanja operacija
samoreferencije (Paluch 2002: 17). Ovo ispoljavanje pesnike samosvesti o jeziku,
knjievnoj formi, postupcima, konvencijama, stilu ili tradiciji, inu pisanja, odnosu
izmeu fikcije i stvarnosti moe da bude prikriveno ili ogoljeno (Popovi 2007: 67).
Gete se, meutim, ne zadrava samo na prikrivenoj samoreferenciji, ve kritiki razmatra formu: jezik. Nemaki jezik je, smatra autor, najgori mogui materijal, prava
nesrea za pesnika, jer njime se kvari i ivot i umetnost (Goethe 1960: 227, 29; 229,
33). Jezik je za njega u toj meri nepremostiva prepreka da sudbini nije polo za rukom da od njega zaista stvori pesnika (isto: 237, 76). Gete se pritom poredi sa onim
knjievnicima, koji su imali sreu da stvaraju na klasinim jezicima i savremenom
grkom i italijanskom (Trunz 1952: 499).
U okviru sistemske referencije, operacije oznaavanja sistema pomou razlike izmeu sistema i okoline (Luman 2001: 590), samoopis umetnikog sistema
reaguje na pitanje o smislu umetnosti (Paluch 2002: 59). Otuda i pesnik u ovoj zbirci
u prvom redu odreuje funkciju i smisao ove knjiice, koja treba da bude svedoanstvo o njegovom boravku u Veneciji. Kao umetniko delo ona ima ulogu i zadatak
da prevazie smrt, da ovekovei slike iz ivota. U epigramima treba da budu zabeleena pesnikova iskustva u Veneciji u vidu umetnikog dela koje e nadiveti svog
stvaraoca (Goethe 1960: 221, 1). Na taj nain uspostavlja se veza izmeu okoline i
sistema, jer sistem je primoran da iz svoje okoline uzima informacije koje mu omoguavaju da utvrdi stanja koja e se interno nadovezati. Informacija se ostvaruje kada
selektivni dogaaj eksterne ili interne prirode moe selektivno da deluje u sistemu
(Luman 2001: 96-97, 85). Boravak u Veneciji 1790. godine pruio je Geteu dogaaje
i doivljaje koje je selektovao i tematizovao u epigramima i saoptio ih itaocima.
Poto svaka komunikacija odmah propada, ako se nove komunikacije ne nadoveu na
nju (Wenzel 2010), tako i umetnost gubi smisao ako ne nae svoje itaoce.
Kao i svi drugi sistemi, pesniki sistem je strukturalno orijentisan na svoju
okolinu, ne moe da postoji bez nje, konstituie se i odrava kroz stvaranje i odravanje diferencije prema okolini. Izmeu okoline i sistema postoji stalna interdependencija (Luman 2001: 54), pesniki sistem stalno prima impulse iz okoline. Tako i
Gete svoj intenzivni doivljaj prirode i umetnosti pretvara u tekst. Otuda lovor vodi
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Nikolina Zobenica
nikacije izmeu sistema mogue su samo ako se smisao sadrine donekle poklapa
(Wenzel 2010). Osim toga, pesnik se na ovaj nain ukljuuje u diskusiju o razlikama
izmeu pesnitva i likovne umetnosti, koja se nekoliko decenija vodila u evropskim
krugovima (up. Barner 1998: 235-239), ime se istorizuje jedinstveni momenat komunikativne situacije i kontekst diskusije kojem pripada ovaj tekst (ppe; Winko
2008: 185).
Na osnovu sva tri nivoa samoreferencijalnosti stie se uvid u karakteristike
pesnikog sveta Venecijanskih epigrama. Poloaj pesnika zavisi od drutva, od mecena i publike, od okolnosti u kojima se zadesio i utie na anr i sadrinu njegovog
dela. Proces umetnikog stvaranja uslovljen je dugom knjievnom tradicijom i linim
iskustvima pesnika, kao i jezikom koji mu slui kao medij. Pesnitvo se nalazi u interdepedentnom odnosu prema okolini iz koje preuzima informacije i integrie ih u
sistem, a diferencira se u odnosu na okolinu i druge podsisteme svojom funkcijom i
medijem koji koristi: knjievnost pomou jezika nastoji da ovekovei ivot i njegove
posebne trenutke.
U svim knjievnim teorijama s polazitem u nauci o drutvu gorue pitanje
predstavlja upravo odnos knjievnosti i drutva (Kppe; Winko 2008: 182-183), pa
tako i u knjievnim analizama zasnovanim na teoriji sistema. Venecijanski epigrami,
posmatrani sa stanovita ove teorije, svedoe o poloaju knjievnika i knjievnosti na
kraju 18. veka, o ogranienoj pesnikoj autonomiji, ali i o razvoju samosvesti pesnika
u nemakoj poeziji na prelazu vekova.
LITERATURA
Barner, Wilfried (1998). Lessing : Epoche Werk Wirkung. Mnchen: Beck.
Cramer, Florian (1999). Selbstreferentialitt. URL: http://cramer.pleintekst.nl/all/
selbstreferenz/selbstreferenz.pdf (13.1.2010)
Curtius, Ernst Robert (1993). Europische Literatur und lateinisches Mittelalter. Tbingen Basel: Francke Verlag.
Deutschmann, Peter. es geh dichte rund gnge. URL: http://www.dade.at/gehdicht/
deutschm.htm (13.1.2010)
Gete, Johan Volfgang (2008). Pesme. Prev. Branimir ivojinovi. Sremski Karlovci
Novi Sad: Izdavaka knjiarnica Zorana Stojanovia.
Goethe, Johann Wolfgang (1960). Poetische Werke. I. Berlin: Artemis Verlag.
Goethe, Johann Wolfgang (1982). Torquato Tasso. Werke: Hamburger Ausgabe in 14
Bnden. V. Mnchen: dtv, 73-167.
Goethe Handbuch (2004). Hrsg. v. Regine Otto und Bernd Witte. Stuttgart Weimar:
Verlag J. B. Metzler.
Kppe, Tilmann; Winko, Simone (2008). Neuere Literaturtheorien. Stuttgart: Metzler.
Nikolina Zobenica
SELF-REFERENCE IN GOETHES VENETIAN EPIGRAMS
Summary
In the system theory of Niklas Luhmann the self-reference plays a key role, because
it makes it possible for the system to establish its identity in difference to the surrounding
environment and to maintain the own existence as such. Though the self-reference has mostly
been brought up in connection with the post-modern literature of the 20th century, it can be
found in the earlier periods of the European literature as well, among others in Goethes Ve-
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Nikolina Zobenica
netian epigrams (1790). In this paper there shall be considered the self-reference in this cycle
of poems, with the aim to determine the features of the depicted poetic world as a separate
autopoietic subsystem which acquires its identity in the differentiation to and interdependence
with the surrounding world.
Key words: system theory, self-reference, poetry, Venetian epigrams.
. XXXV (2010)
Annual Review of the Faculty of Philosophy, Novi Sad. Volume XXXV (2010)
UDK 821.111(73):305
Originalni nauni rad
Pria Suzan Glaspel Sud njoj jednakih dugo je sluila kao parabola sudbine amerike knjievnice u patrijarhalnoj kulturi: kao to ene nisu mogle biti lanice
porote, one dugo nisu bile prisutne u ureivakim odborima, niti na bilo kakvim akademskim poloajima koji bi im obezbedili uticaj. Zbog odsustva ena sa pozicija moi,
amerike autorke koje su u svoje vreme uivale ugled, poput Lidije Marije ajld, Meri
Ostin, Zone Gejl i Konstans Fenimor Vulson, nisu dobile zaslueno mesto u istorijama
knjievnosti i enciklopedijama: nepostojanje porote jednakih presudno je uticalo da
se relevantnost njihovog dela jednostavno porekne. Bila su potrebna tri i po veka preutkivanja enske knjievnosti u Americi i tri decenije njene afirmacije u ginokritici da
se 2009. godine konano pojavi pregled amerike enske knjievnosti pod naslovom
Sud njoj jednakih: amerike ene pisci od En Bredstrit do Eni Pru iz pera renomirane
teoretiarke roda i kreatorke pojma ginokritika Ilejn ovolter.
ovolterova pie svoju istoriju enske knjievnosti u Americi poinjui od
uene puritanske pesnikinje En Bredstrit ija je prva knjiga objavljena 1650, i zakljuujui je opusom Eni Pru, iji je roman Planina Broukbek godine 1999. oznaila
mogunost revizije anra vesterna. U meuvremenu su samo dve amerike spisateljice dobile Nobelovu nagradu, ali je zato od sedamdesetih naovamo poelo opseno
istraivanje sa ciljem da se knjievni kanon obogati ponovo pronaenim i odtampanim delima ena pisaca.
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dokaz frivolnosti ili nekompetentnosti ena autora. Ona ivopisno predstavlja irli
Dekson, autorku antologijske prie Lutrija i do danas nedovoljno iitanog opusa
fantastine i horor proze, kao hiperaktivnu, neurotinu i preosetljivu suprugu, majku i
domaicu, s namerom da stvori dinamiki kontrast njenom nepravedno potcenjenom
proznom stvaralatvu. Takoe, ovolterova nas podsea na ikone osujeene enske
kreativnosti kakva je bila Alisa Dejms, sestra mnogo slavnijeg Henrija. Od novijih
knjievnih poslenica pominje Sinu Diter Nazlund, autorka koja sebi zadaje misiju
feministikog korektiva amerike prozne istorije i ispunjava je tako to pie ensku verziju Mobi Dika koja se, simptomatino, zove ena kapetana Ahava. Ustupci
komercijalnom duhu ipak su uoljivi u Sudu njoj jednakih, te tako u ovom pregledu
nema mesta za radikalnu eksperimentatorku Keti Aker, jednu od najkontroverznijih
linosti amerike kulturne scene i predmet mnogih teorijskih studija iz oblasti psihoanalize, dekonstrukcije i studija medija i kulture; o literarnim dometima Gertrude Stajn ovolterova pie vrlo ironino, ignoriui njenu kulturoloku misiju, ali, s
druge strane, ne proputa da istakne kulturnu relevantnost vrednosno spornih romana Strah od letenja Erike Dong ili Prohujalo sa vihorom Margaret Miel. Autorke
vanije kulturoloki nego poetiki (poput jevrejske knjievnice Anzije Jezerske, ili
Afroamerikanke Desi Redom Foset) predstavljene su samo u kratkim crtama. ovolterova nastoji da ocrta socijalni, politiki i kulturni kontekst enskog autorstva,
ali je ipak vie prostora posvetila istorijskom mapiranju enskog stvaralatva nego
njegovoj evaluaciji i interpretaciji.
ovolterova se, takoe, usredsreuje na egzistencijalni kontekst enske knjievnosti. Socijalni okvir rodnih uloga posluie joj kao argument kojim objanjava
injenicu da je engleska knjievnost devetnaestog veka imala velike romansijerke
poput Dejn Ostin, Dord Eliot i Emili Bronte, a Amerika nije. Objanjenja koja
ovolterova nudi su realistina i praktina: ak su i siromane porodice poput Bronteovih imale poslugu, dok se od Amerikanki toga vremena oekivalo da se bave domaim poslovima bez obzira na socijalni status. I odista emo u biografijama amerikih knjievnica, od Harijete Bier Stou pa sve do Silvije Plat i dalje, otkrivati da je
priroda enskih ivotnih i profesionalnih iskustava Amerikanke presudno uticala na
njen knjievni izraz. Iz tog specifinog egzistencijalnog konteksta izranja konstrukt
praktine i delatne ene koji je dinamiki kontrast slici umetnika mukarca; on je
zaokupljen velikim temama, uronjen u filozofsku kontemplaciju o realnosti - pisac
mukarac je, reklo bi se, u dosluhu sa metafizikom slikom sveta, a ena sa svakodnevnim okruenjem u kome literarne pretenzije nuno izazivaju samooptuivanje i
krivicu. Iako se fokusiraju na svet emocija, ene niim ne ugroavaju kult mukarca
romanopisca i njegovu predstavu o maskulinoj snazi.
S druge strane, ukazuje ovolterova, ene je na pisanje esto motivisao itav
spektar razloga koji su imali veze sa samortvovanjem: bankrot, bolest, oskudica,
smrt mua ili oca, dakle ekonomska odgovornost za porodicu. Neka od znaajnih
dela nastala su u egzistencijalnoj iznudici, a pisanje je bilo uzviena zabava samo
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itih autorki travestiraju se u socijalni komar, smrtnu opasnost ili, barem, u vid dominacije nad vladajuim mukim subjektom. Doris Lesing bi, po periodizaciji Ilejn
ovolter koja razlikuje tri faze enskog stvaralatva, nesumnjivo pripadala treoj,
enskoj - female. Naime, od dvadesetih godina dvadesetog veka pa sve do danas,
po Sovolterovoj, tee proces samoidentifikacije enske tradicije snano obeleene
invencijom, inovativnou i samoodreenjem koje se ne opire mukom kanonu, ali
ga ni ne prihvata kao vid svoje identifikacije. Prethodne dve faze podrazumevale su
period imitacije preovlaujuih modela dominantne tradicije i internalizacija njenih
standarda umetnosti (enstvena -feminine) i period pobune protiv ovih standarda i
vrednosti, u okviru koje se stupa u odbranu prava i principa manjine (feministiki feminist).
Dodeljivanje Nobelove nagrade za knjievnost britanskoj autorki Doris Lesing skrenulo je panju na spisateljsku karijeru dugu est decenija koja zdruuje feministiko opredeljenje i refleksivnu, kritiku perspektivu, i izazvalo neke specifine
reakcije. Mrzovoljni komentar amerikog kritiara i teoretiara Harolda Bluma daje
nagrada Lesingovoj primer iste politike korektnosti ukazala je upravo na vitalan
fenomen nekorektnosti koji ovolterova esto istie: na potrebu da se mistifikuje
odrednica roda kao neknjievna i problematina. Lesingova se ne miri sa definicijama - u toj meri da svoje feministiko i leviarsko opredeljenje stalno problematizuje
i opovrgava - i u svom pisanju stalno se vraa toposu krize: raspadu identiteta, potiranju socijalnih uloga, problemima integracije, kritikovanju drutva koje je odve
esto spremno na banalizacije i simplifikacije. Njen roman Peto dete esto se, gotovo
brzopleto, ita kao povest o porazu jedne ideje - ali ovo delo napisano pre pune dve
decenije zapravo kao svoju osnovnu temu postavlja poraz jedne iluzije: poraz opsene
o univerzalnosti i neprikosnovenosti porodine idile. Kao i u stvaralatvu Morisonove, i kod Lesingove se lik deteta koristi da pokrene gorue teme krize vrednosti, krize
identiteta, drutvenih i istorijskih konflikata.
U amerikom kanonu se za teme kriza i konflikata moe koristiti i minimalistika tehnika. Pripovetke i romani spisateljice En Biti koncentriu se na ensko
iskustvo i enski senzibilitet, ali bez socijalnih, politikih i istorijskih tema i znaenja
koje se nalaze u afroamerikoj knjievnosti i ostalim etnikim opusima. Marginalost
njenih junakinja je drugaije postavljena: njihovi problemi su psiholoke i emotivne
prirode, one su sluajni svedoci tuih tragedija i statisti u tuim ivotima; marginalizovane su svojom izabranom ili nametnutom samoom. Odlikuje ih inhibiranost proizala iz nekanalisanih emocija i inertnost kao njena posledica. Prie En Biti satkane
su od teko itljivih i nesigurnih signala koje njene junakinje alju svetu; istraivanje
savrenstva malih stvari, neprimetnih a vanih, najhitnija je umetnika misija ove
spisateljice koju nazivaju kraljicom elipse.
Bitijeva neguje prepoznatljiv minimalistiki stil kratkih reenica, verbalnog
tvrdiluka i krajnje jezike ekonominosti. U njenoj prozi nedostaju centralna tema,
dosledna karakterizacija likova i jasan vremenski plan: umesto toga, registruju se
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trivijalni detalji i trenuci, slede se nemotivisane digresije, naraciju zamenjuje ekspozicija, opise reporterska katalogizacija. Bitijeva sa ironinim uivljavanjem opisuje
muke, tuge i strahove pripadnika vie srednje klase sa istone obale Amerike, ljude i
ena koji ne moraju da zarauju za ivot niti da razmiljaju o budunosti, ali ija egzistencijalna sigurnost nije garancija duevnog spokoja. Izuzetno suptilna percepcija
i iva imaginacija likova iz ove proze nisu samo vid karakterizacije nego i inioci
pripovedne strategije. Tako, na primer, korienjem muzikih ili vizuelnih motiva En
Biti stvara objektivne korelative: u romanu Uklapanje ponavlja se pesma Srce od
stakla grupe Blondi kao metafora emotivne krhkosti glavnih junaka, a junak romana
Neko kao ti u ispremetanoj hronologiji filma Izdaja, gde pria o ljubavnom trouglu
tee od kraja prema poetku, prepoznaje haos sopstvenog ivota. Muzike fraze i
upeatljive vizuelne senzacije efektno dopunjavaju verbalni vakuum.
Usled svoje inertnosti i eliptinosti, likovi iz proze En Biti nalaze oduka u
druenju sa neivim objektima i nemutim stvorenjima. Junaci romana Uklapanje i
Studeni zimski prizori oboavaju svoje pse, a u prii Zdela Andrea svugde sa sobom
nosi keramiku posudu koju je dobila na poklon od biveg ljubavnika, zbog kog nije
imala hrabrosti da napusti mua. En Biti pie jezgrovito a ne slikovito, rauna vie
na itaoevu intuiciju nego na imaginaciju, vie daje znake nego to doarava slike,
kao to pokazuje detalj iz romana Uklapanje: Donu, umetnikom savetniku jedne
marketinke firme, stie katalog slikara koji nudi svoje usluge. Dok lista katalog,
ve upola reen da ga odbije, Don na jednoj stranici nalazi vlas crne kose. Da li je
vlas pala sluajno ili ju je umetnik tu namerno ostavio kako bi video da li je katalog
uopte otvaran? Don odlazi do svoje plavokose sekretarice, uzima jednu vlas njene
kose i stavlja je na isto mesto gde je bila ona crna, pie negativan odgovor, pa katalog
sa propratnim pismom alje na potu. Proza En Biti visi upravo o toj jednoj tankoj
vlasi, poiva na nedefinisanoj granici suptilne poruke i banalnog detalja; simbolino
reeno, njena pripovedna tehnika kao da pravda sliku enske proze kao nevidljive i
neprimetne, kao opsednute sitnicama na granici trivijalnosti, ali sitnicama od krucijalne vanosti.
Proza En Biti satkana je od bezbroj neosetnih svakodnevnih potresa koji
lagano ali uporno menjaju konfiguraciju karaktera: njeni junaci opaaju i intenzivno
doivljavaju sve mikropromene u sebi i svojoj okolini, rizikujui neprepoznavanje
i nerazumevanje zato to vide ono za ta su drugi slepi. ini se da i enski kanon
operie strategijama nevidljivosti, tiine i marginalnosti, koristei ih kao kontrapunkt
kanonskim temama i postupcima koji su dugo bili automatski definisani kao muki.
LITERATURA
Abel, Elizabeth, Barbara Christian, and Helene Moglen, eds. (1997). Female Subjects in Black and White: Race, Psychoanalysis, Feminism. Berkeley, University of California Press.
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Annual Review of the Faculty of Philosophy, Novi Sad. Volume XXXV (2010)
Dr Ljiljana Mati
lilimat@open.telekom.rs
Daniel Danis est un dramaturge en vogue dont les pices de thtre sont
joues avec un grand succs au Qubec et en France car le monde particulier quil
peint attire lattention aussi bien par le choix des sujets que par la spcificit de la
langue par laquelle ces sujets sont traits. Amateur de la vie dun monde rural, Danis
exprime une sorte de rve darchasme, de qute du ciel et de la terre, qui est loin de
lunivers des villes. Les personnages vivant loin de la civilisation, cest--dire loin
des villes, nemploient quun vocabulaire rudimentaire, qui satisfait largement leurs
besoins. Les membres dune famille ou dune petite communaut vivent comme dans
une tribu, se comprennent demi-mot et communiquent entre eux par des gestes, les
mots tant rduits au strict ncessaire.
Dans sa pice Le Chant du Dire-Dire Daniel Danis oppose le monde rural
sur le point de disparatre un monde o le progrs technologique glorifie plus les
machines que les tres humains, tandis que dans la pice Le Langue--Langue des
chiens de roche le dramaturge peint lhomme tout proche de la nature, avec ses besoins charnels, son admiration envers la force brute et brutale et ses lans vers les
cieux, en qute des valeurs archaques rves et perdues dans notre monde industrialis. Dans notre essai, nous nous proposons de dmontrer la manire laquelle Daniel
Danis claire lme de cet homme qui lve le regard vers les cieux imaginaires et dont
il tche de percer le secret grce la langue.
Cest justement grce sa langue que Daniel Danis est devenu le dramaturge
hors de pair qui, depuis plus de quinze ans, est laurat des prix littraires les plus
58
Dr Ljiljana Mati
Nous nous permettons de renvoyer notre article Le passage du patrimoine europen linvention du mythe
du Nouveau Monde: contes et lgendes, in Klaus-Dieter Ertler/Martin Lschnigg, d. Inventer le Canada
Canadiana, Band 6, Peter Lang, Frankfurt am Main, 2007, 225-242.
59
porte en lui un lan spirituel et moral incomparable. (Dionne, 2006) Cela explique
pourquoi les auteurs qubcois sauvegardent jalousement leur langue, qui reprsente
une arme puissante contre langlicisation dune part et qui tmoigne de leurs racines
franaises par lemploi des archasmes du parler populaires, de lautre. La littrature
orale jouait un rle primordial dans cette lutte pour les contes et les mythes rapports
de lAncienne Patrie et aprs les annes 40 du XXe sicle les dramaturges qubcois
marient bien le pass avec lavenir, tout en vitant les piges de lassimilation.
Gilbert David compare luvre de Michel Tremblay, qui est devenu, bien
malgr lui, le matre ayant introduit le joual et le chantre de lidiome qubcois populaire, avec luvre danissienne ni conservatrice ni enfantine et attire notre attention sur lopinion de Pascale Casanova que lhgmonie du ralisme dans les petites cultures, selon les dclinaisons les plus varies, exclut toute forme dautonomie
littraire (Casanova, 1999 : 270) et que les proccupations formelles, cest--dire
spcifiquement littraires et autonomes, napparaissent dans les petites littratures
que dans une seconde phase, lorsque les premires ressources littraires ayant t
cumules, la spcificit nationale tablie, les premiers artistes internationaux peuvent
mettre en cause les prsupposs esthtiques lis au ralisme et sappuyer sur les modles et les grandes rvolutions esthtiques reconnues au mridien de Greenwich.
(Casanova, 1999 : 274) David pose quaujourdhui deux postures soffrent lcriture dramatique pour saffranchir de loralisation populaire de surface, dans une perspective critique. Notamment, elles recouvrent la polarisation stratgique, qui a cours
au Qubec depuis au moins les annes 1980, et ce nest pas un hasard si cest sur la
langue privilgier au thtre que les joueurs se sont manifests dans les luttes pour
le capital symbolique, voire la lgitimit sociopolitique. David, 2007 : 79
Les deux grandes familles de stratgies, fondatrices de toutes les luttes lintrieur des espaces littraires nationaux, sont dune part lassimilation, cest-dire lintgration, par une dilution et un effacement de toute diffrence
originelle, dans un espace littraire dominant, et dautre part la dissimilation
ou la diffrenciation, cest--dire laffirmation dune diffrence partir notamment dune revendication nationale. (Casanova, 1999 : 246)
Nous partageons lopinion de Gilbert David quil sen ensuit que la langue contemporaine du thtre qubcois na rien dhomogne et quelle est traverse par des
tensions inhrentes au statut de la culture francophone, tant dans le contexte nordamricain que dans lensemble mondial des littratures majeures, la France en tte.
(David, 2007 : 64) Donc, il est possible davancer que des auteurs qubcois comme
Normand Chaurette ou Larry Tremblay orienteraient leur criture en fonction du ple
assimilation sans la connotation pjorative du mot, bien sr alors que les dramaturges comme Michel Tremblay, Rjan Ducharme ou Jean-Franois Caron se dtermineraient dans leur acte crateur en fonction de ple diffrenciation. Entre ces
deux ples extrmes se situent les auteurs qui chercheraient adopter des approches
de compromis, en optant pour loscillation dlibre dun ple lautre. Gilbert
60
Dr Ljiljana Mati
David classe luvre danissienne dans ce dernier groupe et propose dexaminer son
criture quasiment cartele entre une double postulation:
celle de loralit populaire et celle de la littralit. Si cet cartlement est le
fait de plusieurs crivains qubcois contemporains, le choix de Daniel Danis
parat simposer, du fait que la stratgie langagire qui traverse son uvre
est emblmatique de la recherche dune oralit singulire par laquelle se voit
reconfigur lensemble des composantes du texte de thtre, commencer
par le personnage qui [] devient le principe actif de cette dramaturgie
dramatico-pique. (David, 2007 : 64)
Mais, cest avec raison que Marie-Aude Hemmerl, parlant du statut de la parole
dans les dramaturgies francophones contemporaines, insiste sur le mlange du traditionnel et du moderne chez ce dramaturge en vogue de nos jours:
Dans le thtre de Daniel Danis, rcit et dialogue entretiennent un lien troit
et ambigu; les spcificits gnriques de chacun nourrissent lautre. Loin
dappartenir au thtre-rcit ou dtre une simple narration du drame, la dramaturgie danissienne conjugue une hybridation narrative qui place le rcit
au cur du dialogue renouvelant ainsi le statut du personnage, celui de
lacteur et la place du spectateur. (Hemmerl, 2005)
Dans la pice Le Chant du Dire-Dire Daniel Danis semble vouloir mettre
sous le charme aussi bien le lecteur, lacteur et le spectateur, la manire des mages
de la parole de lAntiquit, car il unit les lments formant lunivers: il mentionne
un canot qui glisse sur les eaux dun lac souterrain, ce qui symbolise la fois la
source de la vie, les trfonds de linconscient et lhistoire des tres vivants; il voque
lhomme portant une flamme linstar de Promthe ayant vol aux dieux cet lment indispensable la survie pour le donner aux humains; et il prsente un homme
immobile et tout ou qui conduit la parole vers lun des derniers retranchements
du monde, (Danis, 2000 : 7) personne/personnage cens transmettre le message la
manire du chur de thtre grec destin prsenter ou commenter laction. Cet
homme est habill docre, de sanguine et de verts bleus (Danis, 2000 : 7) et se
tenant debout sur le sol solide il pie la parole planant dans lair et voguant sur
londe: le spectacle unissant le macrocosme et le microcosme pouvait commencer sur
la scne mondiale, sur laquelle lhomme reprsente un noyau part.
Nous avons dj dit que les personnages danissiens parlent peu, mais quils
sont trs sensibles aux lois de la nature. Cest pourquoi leurs destines obtiennent
des proportions cosmiques, vu le fait que lindividu se sent tre le noyau de lunivers
dont il est issu, et en mme temps il est partie intgrante de la famille, cette cellule
invente par la socit. Le dramaturge avoue que ses pices dgagent des cellulesmmoires voquant les rves et les souvenirs denfance, mais nous osons poser que
ces personnages sont des enfants de la nature, vulnrables dans leur navet et en
qute permanente de la puret des temps immmoriaux, dont les lois se sont perdues
61
dans les temps modernes portant le sceau du progrs technologique. Cest la raison
pour laquelle laction des pices de thtre se droule loin des villes tentaculaires.
Loin de tout regard, de tout bruit, de toute parole prononce, loin au-dedans de son corps, plong dans le silence du silence, ltre peut secrtement
sunir son me pour atteindre une indiffrence la vie et la mort afin
de laisser monter, en son corps, la puret. (Danis, 2000 : 9)
Aucun tre humain ne peut vivre compltement isol et en union la plus
traditionnelle de deux tres dans la socit, soit en mnage. Le bonheur du couple
nest pas complet sans enfants et les orphelins ou les enfants abandonns se sentent
trahis par la nature. Les quatre enfants souds par la destine des enfants adopts
par le couple Durant se sentent proches malgr le fait quils ne sont pas lis entre eux
par le lien de sang. Comme la plupart des habitants, les enfants se contentent de peu
et heureux davoir enfin un foyer aucun deux ne parlait beaucoup, notamment
peine. Parler pour le besoin, tout juste. Pas de ncessit jaser. La mre, la leur,
craignait ce silence. (Danis, 2000 : 15) Comme gardienne du foyer familial, cest la
mre qui trouve la solution pour les dlier: elle fait faire au pre un instrument en
cuivre, le Dire-Dire, o les petits disaient des mots et par la suite obtenaient des bonbons ou un boni en argent sonnant. Danis souligne lamour filial pour leurs parents
adoptifs se servant des constructions de phrases typiques pour les personnes avec une
ducation restreinte Rock, William et Fred-Gilles parlent ensemble ou la troisime
personne du singulier, comme le chur antique, et ne cessent de rpter la mre, la
ntre chrie, ou le pre, le ntre comme sils voulaient souligner leur sentiment
de tendresse mutuel. Et lon dirait que la nature tait devenue jalouse de leur bonheur
dans ce Paradis terrestre loin de la civilisation urbaine et aprs plusieurs annes, le
jour arriva o tout a commenc, comme si, par le Dire-Dire, on avait appel du trs
loin le chaos. (Danis, 2000 : 7) (Danis, 2000 : 16) Rock annonce la tragdie par
une phrase lapidaire: Le malheur, avec son lot de troubles sen venait chez nous.
(Danis, 2000 : 16) Les vnements se droulent dans un temps acclr et toutes les
scnes se refltent comme dans un miroir: la scne paisible du foyer familial o les
enfants jouent aux cartes et au Dire-Dire, souds dans leur microcosme familier, est
double par lorage en dehors, o les lments de nature semblent dchans dans le
macrocosme cosmique: dans le ciel de ce midi-l, le cul noir des nuages frlait la
cime des arbres; le chaos avait commenc tonner-foudroyer. Sur le toit de tle de la
maison, la pluie clouait des gouttes de fer. (Danis, 2000 : 16) Fred-Gilles ce chaos
ressemble un gant dhorreur et le vent soufflait trs fort. La bouffe dair fait clater
la porte du sud au moment o le pre entrait par la porte du nord. Rock effray constatait que les tonnerres marchaient en tournant autour de [leur] si petite maison. Des
tonnerres qui mesuraient une cinquantaine darbres, lun par-dessus lautre, qui pesaient des tonnes de montagnes. (Danis, 2000 : 17) Lon dirait que le Dire-Dire avait
appel tout ce chaos des lointaines car la mre est atteinte par la foudre travers le
jouet en cuivre et le pre est terrass sur le plancher mouill. Tandis que Rock, lan
62
Dr Ljiljana Mati
des enfants, tenait les frres entre ses bras, tout vibrait, mme les petites fentres de
[leurs] yeux, les murs de [leurs] peaux, la cave de [leurs] peurs (Danis, 2000 : 17-18)
et Noma, leur jeune sur, effraye par cette force de nature dbride, poussait des
cris stridents en planant dans la pice. Daniel Danis donne une description potique
de la force dchane o la vie des enfants fut change en un instant. Pour montrer
quel point les destines des parents et des enfants taient lies, le dramaturge fait
enterrer les parents chris par leurs enfants aims, le pre au nord de la maison et la
mre au sud, devant la porte dentre. Le noyau familial clat dtruit le microcosme
et les quatre orphelins ressemblent au roseau dont parlait Pascal, bousculs par les
tonnerres, mais dans leurs mes, ils restent souds lternit. La vie et la mort se
coudoyaient et les enfants ont d continuer vivre leur propre vie ensemble, tout en
se souvenant de lamour obtenu par les Durant.
Les frres et la sur tenaient rester ensemble dans leur petite maison, prs
de laquelle taient enterrs leurs parents et ils se sont confronts pour la premire
fois avec les municipiens, qui voulaient les envoyer dans des familles daccueil. Le
mdecin Forgeron et son pouse qui nont pas eu denfants, avaient voulu adopter
Noma, mais les frres les ont accus davoir vol leur sur. Le maire de la municipalit, quils considraient tre leur oncle, vu le fait quil tait le frre de leur pre
Durant, a fini par cder et il sest dcid-forc (Danis, 2000 : 23) les aider. Danis
insiste sur la sincrit des jeunes, qui continuent aller lcole et Rock a mme
appris cuisiner chez les dames du Cercle des Bonnes Fermires, loppos des
adultes qui, au commencement venaient leur rendre visite, leur apporter manger,
le boulanger faisant mme le dtour pour leur apporter du pain et des gteaux. Puis,
les visites se sont espaces et aprs quelques annes, les Durant de lOrage taient
compltement abandonns leur sort. Lorsquils taient jeunes, on leur organisait des
petites soires, une dizaine par an, pendant lesquelles les planchers rsonnaient dans
la cave des pieds des danseurs. Mais, aprs le dpart de Noma, qui a quitt la maison
pour aller faire la carrire de chanteuse dans la ville, les municipiens ont manifest
leur hypocrisie et ont oubli les frres Durant. Les trois frres sont rests attendre
le retour de leur sur aime, cette tourneuse des bars dans toutes les contres qui
chante lamour et la peine dans le style country-gigu ou country-planant. (Danis,
2000 : 25)
Mlissa Proulx souligne cette actualit de la critique de la socit que Daniel
Danis met en vidence:
Lorage ayant aussi dmoli leur maison, les quatre endeuills devront galement se protger des municipiens ligus contre eux. Ce qui mintresse
dans le travail de Daniel, cest le miroir des communauts. Il y a les municipiens, mais aussi le public dans la salle, qui est encore plus important parce
quil est comme le jury, il est pris tmoin. Les personnages sont toujours
dfendre leur histoire. (Proulx, 2008)
63
Daniel Danis insiste sur les valeurs anciennes et raconte les destines des
Durant dans une langue spcifique, avec une grammaire souvent fantaisiste et en se
servant du langage des rgions rurales o se mlent des anglicismes, tels le coroner
ou la country musique avec les archasmes rapports de la Mre Patrie, comme, par
exemple, la gigue. Il ne partage pas sa pice de thtre en actes et en scnes, mais se
sert dune expression vieillie: le dire. La pice Le Chant du Dire-Dire est partage en vingt dires, dont les deux premiers merger pour le temps des partages
et Les traces du chaos dans la maison Durant prsentent les quatre personnages
principaux et le milieu dans lequel se passent leurs vies, les deux suivants racontent
lattente impatiente des frres pour revoir leur sur chanteuse vedette, tandis que la
suite prsente la lutte des trois frres pour la sant de leur sur revenue muette et
catastrophe. La pice se termine la manire des tragdies raciniennes, tous les
participants optant pour la mort pour viter la confrontation avec la ralit de la socit tchnologique et pour rester unis pour lternit.
Le critique de thtre Raymond Bernatchez insiste lui aussi sur la spcificit
de la langue danissienne et sur la forme de sa pice:
De Danis, je dirais quil est parvenu inventer une langue thtrale unique
(...) cest la structure mme de la pice qui est incomparable, puisquil sagit
dun rcit-dialogue puisant aussi bien dans le bagage du conte que dans celui
du drame psychologique thtral nord-amricain, aux confins quelque part
des illuminations chamaniques amrindiennes. (Benatchez, 1998)
Mais, lon y trouve aussi les traces danciennes habitudes paysannes rapportes de la France. Par exemple, les frres attendent Noma dans leurs habits dt,
endimanchs. Rock a donn des recommandations ses frres cadets: il fallait se
tenir debout, fiers, les bras ouverts, cause de laccueil. Dire, pour son premier coup
doeil, la bienvenue leur soeur. (Danis, 2000 : 26) William dcrit en dtails les
prparatifs faits en honneur de larrive de la soeur prodigue:
Il est huit heures du matin, on a mis nos trente-six. Aujourdhui, on nosera
pas sasseoir nulle part. On pince les poussires, on souffle le pollen, on reste neufs,
tout neufs.
Mme le ciel est neuf. (Danis, 2000 : 26)
Fred-Gilles associe leurs habits et leurs parfums la plus belle saison de
lanne:
Une belle journe pour attendre pareillement. Avec, au cur, des battements
quasiment pour enterrer ma voix. De la tte aux pieds, quand je suis habill
chic, je me sens agrandi, comme pour le chic de Nol, dans nos habits dhiver
de ftes, mais l, debout, dans nos habits dt.
Barbe rase, la peau rougie, on a tapot nos joues du parfum dt. On a nos
parfums selon la saison. (Danis, 2000 : 26)
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Dr Ljiljana Mati
En bon psychologue, Danis sait faire sentir la dception des frres avec
lcoulement du temps dans lattente strile de larrive de Noma. midi, les frres
vont enlever leurs vestons, vont laver leurs mains encore propres, relever les manches
de leurs chemises et faire attention de ne pas salir leurs cravattes. La diffrence de
leurs caractres est souligne par la manire laquelle ils sapprtent saluer leur
sur: Rock, lan, va prendre les devants, Fred-Gilles va se dplacer en oiseaumouche, tandis que le plus raliste William va faire klaxonner leur camion baptis le
Toreau. Mais, leur attente tait vaine et ce nest que le lendemain que les agents de
police vont apporter Noma toute grise, le regard gar et plonge dans un mutisme
proche de la folie.
Au lieu de linterner dans un asyle, ce que leur proposaient les habitants de
la ville voisine, les frres soccupent dune manire touchante de leur sur: ils la
lavent, la baignent, la maquillent et lappellent par le nom da caresse: Quiquine ou
Rouquine. Le dire o les frres soccupent de la toilette de Noma porte le nom potique de Lheure des soins damour, ce qui est une manifestation de plus de lamour
fraternel. Mais, Daniel Danis introduit un lment fantastique dans sa pice: Noma, la
malade chrie des Durant, devient lumineuse dans certaines situations et cela provoque
de nouveaux malentendus avec les habitants de la ville voisine. Lorsquon a appris par
le ou-dire que le corps de Noma devient lumineux, les gens se sont prcipits dans la
cour des Durant. Pendant lorage, o il y avait encore des tonnerres, le docteurs Forgeron les a appels les anormaux inconsquents (Danis, 2000 : 75) tout en insistant
sur un arrt de la cour proposant denfermer Noma dans une institution. Pendant
que les clairs tombaient sur la terre, Rick a tir une balle sur la masse assemble et
les trois frres se sont refugis dans la savane en emportant le corps de leur soeur avec
eux. Autrefois, dans la petite fort les enfants avaient bti un chteau pour Noma.2 Le
surnaturel se mle de nouveau dans le texte de Danis et il dcrit un cortge nuptial imaginaire, un cortge de lamour de quatre-vingt mille clairs monts sur leurs chasses
(Danis, 2000 : 79) en escortant le mari imaginaire de Noma le Tonnerre. Dans cette
nuit dorage la boucle est boucle: les frres enfoncent leur soeur dans le lac marcageux et se noient avec elle. En disparaissant dans le nant, les membres de la Socit
dAmour marient les lments caractristiques du thtre-rcit de Daniel Danis avec
les mythes typiques de la littrature orale, o les lments surnaturels personnifis cotoyaient les tres humains. Encore une fois, le noyau de la famille, cette celulle invente
par la socit, rencontre le temps immmorial du cosmos ternel, les rves de lenfance
et limagination cratrice unissant ses deux espaces, tout en rapprochant la naissance,
la vie et la mort. Le renouveau symbolique de la nature assure la dure des sentiments
tendres des humains, par quoi, Daniel Danis, ce chantre de la nature a mrit le Prix du
Gouverneur Gnral pour sa pice de thtre extraordinaire.
2
Quil nous soit permis de citer ici le ddicace que Daniel Danis a crit lauteure de ce texte et qui explique
limportance du Dire-Dire et du chteau: Un Dire-Dire peut-il rveiller un chteau, un chteau de lumire
qui claire les mots de lme?
65
66
Dr Ljiljana Mati
Mais, il faut souligner le fait que dans la pice de thtre Le Langue--Langue des chiens de roche Daniel Danis emploie beaucoup plus danglicismes que
dans sa pice Le Chant du Dire-Dire. Cest pourquoi on peut en conclure quil sest
tourn de la position de diffrentiation vers celle dassimilation. De mme, si la
pice prcdente tait crite dans un franais trs comprhensible, malgr le jeu avec
lordre des mots dans la phrase, celle-ci est pleine de qubcismes que les lecteurs
forms sur le franais de France ne sont pas censs comprendre. Cest pourquoi le
livre imprim en France est muni dun Glossaire la fin de la pice o lon trouve des
explications ncessaires pour la bonne comprhension du texte. Le lecteur curieux
y trouve, par exemple, que atriqu veut dire habill dune tenue vestimentaire
tonnante; que bazou est une vieille automobile dlabre et gravelle dsigne
le gravier; grippette signifie malcommode, tandis que lexpression ne pas virer
dans le beurre veut dire ne pas perdre son bon sens, ne pas paniquer.
Donc, cest avec raison que nous avons appel Daniel Danis le chantre qubcois et son langage pittoresque et imag en est la preuve. Mais il reste toujours cet
enfant dont parlait Michel Tremblay qui se laisse tremper au cirque puis qui accepte le
rve veill qui lui rappelle les souvenirs de son enfance rsonnant dans lme de tout
tre humain. Il est toujours fascin par limmensit du cosmos, par la couleur du ciel ou
par le bruit de leau. Les scnes qui se droulent pendant la nuit cachent le mystre et
linconnu qui attirent et provoquent la peur en mme temps. Les personnages rebelles,
insolites ou quasi sauvages restent toujours proches de la nature, qui offre un cadre
adquat leurs sentiments. Le mlange de larchaque et du moderne que Danis manie
adroitement donne une signification particulire luvre dramatique de ce Qubcois
mondialement clbr. Ses pices donnent preuves de sa bonne connaissance de la
littrature orale et la composition des scnes dune prcision mathmatique est due sa
connaissance de lart dcrire classique et cest la raison pour laquelle son message est
cout et compris par le public dans le monde entier. Ce message est en mme temps
trs philosophique et profondment humain. Daniel Danis est un tre humain qui peut
firement porter le nom du roseau pensant invent par Blaise Pascal pour dsigner la
grandeur de lintelligence de lhomme, petit de taille par rapport aux chnes millnaires, mais qui a sa place dans limmensit de lunivers, et il combine adroitement les
rgles de la nature et les rgles de la volont humaine.
Que a commence avec un vent de nuit, un vent chaud et humide comme au
dbut de lhumanit. Do je suis perche, sur lautre rive, je peux voir les maisons, les lampadaires, le dernier traversier qui vient de mouiller au quai rouge.
Je devine la terre laboure du futur champ de mas jaunes des voisins, la route
grise qui serpente le tour de lle, je devine aussi notre maison mobile parque
ct de notre poste dessance, le Gaz-O-Tee-Pee. Un vrai beau bric--brac
pour des dbiles mentaux oublis. (Danis, 2001, couverture verso)
Cette description potique de lendroit sur lequel se droulent les vies des habitants de cette le o les chiens ne sont pas les meilleurs amis de lhomme possde le
67
charme des tableaux idylliques des peintres des poques passes, mais le tableau porte le
sceau de la modernit technologique grce laqulle la terre solide est lie aux lots. Le
traversier et la maison mobile en sont des tmoins. Mais, le dsir de conqurir le monde
et lopinion dtre plus intelligente que les adultes se voit bien dans la phrase finale, o
ladolescente Djoukie dsigne ironiquement les liens de dbiles mentaux oublis.
La mme sagesse et la mme boutade se rvlent dans la ddicace que Daniel
Danis nous a adresse: Des vagues comme des langues qui traduisent la monte des
corps vers des cieux imaginaires et archaques. Par cette phrase nous aimerions terminer notre essai sur les deux pices de thtre de Daniel Danis, en rptant ce que nous
avons dit au commencement de notre travail: Cest justement grce sa langue que
Daniel Danis est devenu un dramaturge hors de pair qui, depuis plus de quinze ans, est
laurat des prix littraires les plus prestigieux. Elle le distingue de tout autre dramaturge
canadien par sa singularit: riche et colore, elle invente un monde fantastique peupl
de petites gens dans toute leur complexit. Ses personnages parlent peu, mais ils sont
trs sensibles aux lois de la nature et ils sont littralement rests des enfants dans leur
navet et dans leur manire de rsonner aux signes que la mre nature envoie sa
progniture. Leurs destines obtiennent des proportions cosmiques, vu le fait que lindividu se sent tre le noyau de lunivers dont il est issu, et en mme temps il est partie
intgrante de la famille, cette cellule invente par la socit. Cest pourquoi lenfance
et les souvenirs jouent le rle primordial dans le monde danissien. Pourtant, il ne faut
pas oublier non plus que lenfant remplace lintelligence et la sagesse par lintuition
et lorsquil nest pas content de la ralit instinctivement, lenfant se rfugie dans
les rves, nourris le plus souvent par les souvenirs de la prime jeunesse. Ses souvenirs
se trouvent cristalliss dans les ouvrages de Daniel Danis, qui nous ouvre la porte dun
monde magique cr par son imagination cratrice et nous invite explorer les mondes
inconnus dont les confins sont l o la possibilit de rver nous a fait dfaut.
BIBLIOGRAPHIE
Benatchez,Raymond (2 mai 1998), La Presse.
Boulanger, Luc (2001), Voir, du 18 au 24 janvier 2001.
Casanova, Pascale (1999), La Rpublique mondiale des Lettres, Paris, Seuil.
Danis, Daniel (2000), Le Chant du Dire-Dire, Paris, LArche, Paris.
Danis, Daniel (2001), Le Langue--Langue des chiens de roche, LArche, Paris.
David, Gilbert (2007), Le langue--langue de Daniel Danis: une parole au corps
corps, tudes franaises, Volume 43, numro 1, 63-81.
Dionne, Daniel (samedi 23 dcembre 2006), La nation du mythe et de la ralit.
In: Vox, le site des rsistants au nouvel ordre mondial.
Hemmerl, Marie-Aude (2005), Le rcit comme avatar du dialogue dans le thtre
de Daniel Danis. In: Jean-Pierre Ryngaert et Jean-Pierre Sarrazac ds, Nouveaux territoires du dialogue, Actes Sud.
68
Dr Ljiljana Mati
Dr Ljiljana Mati
DANIEL DANIS, CANTOR OF QUEBECS NATURE
Summary
Daniel Danis is a popular playwright whose plays are performed with great success
in Quebec and France as the world he paints drows particular attention both by the choise
of topics and by the specificity of language dealing with those subjects. A lover of rural life,
Daniel Danis express a kind of dream of archaism, quast of heaven and earth, which is far from
the universe of cities. The caracters live far from civilization, that is to say, far from cities;
employ a rudimentary vocabulary, whitch largely meets their needs. Memebers of a family or
a small community living like a tribe understand each other by half-word and communicate by
gestures, words beeng reduced to an absolute minimum.
Key-words: Quebec literatury, Quebec theatre, person and society
. XXXV (2010)
Annual Review of the Faculty of Philosophy, Novi Sad. Volume XXXV (2010)
Farag Kornlia
corna@eunet.rs
UDK 82.0:165.725
Originalni nauni rad
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Farag Kornlia
sz, amely megvon bizonyos minsgeket a referenstl, illetve ms rtelmezsi horizontba helyezve azokat, viszonytsi hinyknt adja hozz a elbeszlthez amint ezt
a Dorian Grey arckpnek olvasja tapasztalhatja: Fltkeny vagyok az arckpre,
melyet rlam csinlt. Mirt tartja meg azt, amit n elvesztek. Minden elml pillanat
visz valamit bellem s hozzad a valamit ehhez a kphez. A dinamikus referens izgalmas jelensge, a referencik idleges instabilitsa, a referens kimozdulsa mellett,
a referens transzformcijrl, pozicionlis vltozsairl is beszlni kell, s arrl az
eshetsgrl, amikor a referencia folyamatosan kitr a rgzts ell.
A referenshez vezet t megsemmislsn tl, amikor az irodalom ltal teremtett utals az olvassban nem juthat el a referensig, a vrt referencilis kapcsolat
kijtszsa, a latens bels referens megjelense is dinamizlhatja az olvasst. A felmani referencilis excesszus fogalmt bevezetve az autoreferencilis folyamatok is
mlyebb rtelmezst nyerhetnek.
Amikor az rtelmezs kitntetett irnytja a szvegi alap referencialits a
posztmodernsg tapasztalatait integrl regny olvasata s a referens kls rtelme
kztti hierarchibl fakad szvegjelents jelenik meg az olvassban, amelyben az
egyik mindig dominns. Van olyan olvassi helyzet is, amelynek sorn mindenkppen fel kell ismerni az elnk trul szvegben egy mshonnan mr ismert mozzanat
alakzatt, gy a m hangslyozottan egy bels, figuratv szerkezet s a referens egybejtszdsnak ketts folyamataknt jelli meg az rtelmet. Amennyiben szvegi
alap a referens, rtelmezse mr abban a diskurzusban megkezddtt, amelyhez
az alapdokumentum tartozik. Abban az esetben, amikor nlklzhetetlen, hogy felismerjk a szveg alakazataiban azt, ami rajtuk kvl van, amikor az rtelmez egyszerre, egyms fggvnyben formlja jelentss a szvegjelensgeket s a hozzjuk
kapcsold valsgeffektusokat, a felismertet aktus nem nmagban az olvass
mint olyan, hanem a komplex, a kls dimenziiban kiteljesed olvass lehetsgfeltteleit teremti meg.
Ismers az a vlekeds is, amely szerint olykor a szveg minden relis adatnl lbb s plasztikusabb szubjektivitst tud ltesteni. Ez a gondolat olyan olvasi
perspektvt hirdet, amelyben a fakticitstl szabad, szemlyes minsg a legalapvetbb rszletekig megfelel a valsgnak, st kifejezbb is a tnyszersgnl. Itt
kell emltst tenni arrl a valsgrl, amely kizrlag a fikcival kzelthet meg, a
referencilisrl, amely a fikcionalizlva nyeri el a maga valdi alakjt. Klnsen
vilgosak ezek a viszonylatok akkor, amikor a szveg nmagra is reflektl, a fikci
referencilis indttatsaira.
A klnbz olvasati narratvk elllltsnak tekintetben mindig rendkvli
fontossggal lp be az rtelmezsbe, hogy mi az, amit az olvas szemlyes tapasztalata
a valsgossg kdjval lthat el az ppen aktulis olvasi helyzetben. Rajtunk mlik, az olvasi perspektvn, hogy egyltaln mit ltunk, mit lthatunk valsgosnak,
hogy hogyan mkdik a referens materilis valsga, a forrsokkal igazolt, hogy mi az,
aminek a valszersg smit tudjuk klcsnzni. Mindannyjunk szmra ismers az
71
a referencilis minsg, amely csak a megfelel olvas eltt leplezdik le. Ismers a
bels krds is, hogyan megszerezni a kivltsgos olvas pozcijt?
A mssgok s azonossgok hatrvidkn, a geokulturlis jelentsads ambivalencikkal, kettssgekkel terhes trsgben, olykor a fikcik sr szvedke ll
a valsg helyn. Amikor a geokulturlis narratvkra alapoz szveg (Farag 2009:
90-91) szokatlanul fikcids kzegnek tli a kisebbsgi ltkzeget mondvn, hogy a
kisebbsgi ember valsgban sokkal tbb a fantazmagorikus elem, mint annak a
vilgban, aki az lett a tbbsghez ktzve biztonsgban li le, tulajdonkppen
arra utal, hogy a figuratv szfrbl kilp beszd, nem rinthetn annak a valsgt,
aminek a valsgra az alkots potikai alaktottsga irnyul. A nyelvi tbbessgek
olyan terrnuma ez, ahol a kpzelet valsg s kzvetlensg utn hitozik, s irigysg
vezi a kzvetlensgben l egynyelv irstudkat, akik viszont ppen a fikcis
kzvettettsg elrsre, az tttelessg haterejre svrognak. Ez az a terrnum,
ahol a fikci taln valsgosabb is a valsgosnl. Ez az a terrnum, ahol legfeljebb a vals nyltan hamistott vltozata kelthet referencilis kpzeteket.
Mindebbl kvetkezen gy tnik ezekben az rtelmezsi relcikban,
ahol a vilgbeli teljes egszben fikcis mintzat, lehet a legotthonosabb az antifikcis jelentskpzs marqvardi elkpzelse, mivel a fikcis valsgot mkdtet
irodalomisg mr csak antifikciknt rtelmezhet. A valsg klns srsg fiktivitsa zavarba hozza az rst s antifikciknt hozza ltre a maga vilgt, sajtos
nem-fiktv jelenltet biztostva a tnyeknek, mintegy megfeledkezve arrl, hogy a
tny referencialitsa is megkrdjelezdhet, hogy bizonyos viszonylatokban (lehet,
hogy ppen ezekben) a tny is metafornak bizonyul. Az antifikcis eljrs mint a
valsgos jelentsnek keresse nyer rtelmezst.
A geokulturlis narratvt (Farag 2009) alakt trtneti jelentskpzds
Jugoszlvit illeten egy olyan triessg konstrukcijt hozza ltre, amelyet az emlkezet tart fenn s mr nem a geogrfiai politikai realits, gyhogy errl a triessgrl
alkotott felfogsunk ma inkbb a kpzelet mve, fikci, amely rtelmet ad. Igy a
felidzett valsgreferencia helyn mr csak a textulis mkds teljestkpessge
llhat, amely a hiny fel mutat. A szveg ltal kijellt olvasi pozci ltni engedi
azt is, ami az irodalmi mvet arra knyszerti, hogy a hiny figurlis helyettestsn
keresztl elnk lltsa a tkletesen eltnt formt, azt ami az irodalom nosztalgikus
struktrjt alkotja. Taln ezt a helyettestdst lehetne elltni az let-megrz fikci
(Nietzshetl) klcsnztt fogalmval, amely megtart ervel rendelkezik a kzponti
referens alakvltsai, elenyszse, eltnse ellenre is.
Amit mindezltal viszont feladatul kapunk, az Blanchot konstrukcijnak
jragondolsa az irodalmi nyelv msodlagos kzlsformja nem hozza ltre a mimetikus reprezentci igazmond ignyeit. Az irodalom nem tartalmaz kpeket,
amelyek a valsgot mint figurlis msolatokat reprodukljk, s nem is reflektl
mimetikusan az empirikus lmnyre letet adva annak ami halott azltal, hogy
felidzi, s klti metaforkkal tlti fel azt. (Huffer 2003: 119120)
72
Farag Kornlia
73
74
Farag Kornlia
Kornelija Farago
REFERENCIJALNA POLJA,
Referencijalna produktivnost fikcije
Rezime
Studija raspravlja o ulozi temporalnog inioca u prepoznavanju referenta, zatim
tematizuje fenomen dinaminog referenta, kao i pitanje privremene instabilnosti referenta.
Ona osim izmetanja referenta analizira i transformaciju referenta, njegovu pozicionalnu transformaciju, te se tematizuje i mogunost kada referent izmie fiksiranju. Na razmei izmeu
drugosti i identiteta, u prostoru geokulturalnih znaenja koji je optereen ambivalentnostima
i dvojnostima, veoma esto gusto tkanje fikcije stoji na mestu stvarnosti. Shodno tome, prevrednuje se sistem znaenja referenta.
Kjune rei: dinamiki referent, fikcionalnost, vreme, referencijalnost, prostor
Kornlia Farag
REFERENTIAL FIELDS, ACTS WHICH CONSTITUTE FICTION
Referential Productivity of Fiction
Summary
This paper poses the question of the role of the temporal factor in recognizing the
referent, the phenomenon of dynamical referent, the question of transitional instability of referents. Along the alteration of the referent it thematizes the transformation, the positional
changes of the referent and the way that the referent continuously evades being fixed. On the
border-land of otherness and sameness, the geocultural signification is in a space full of ambiguities where the dense tissue of fiction replaces reality and the meaning of referentiality is
re-evaluated in many ways.
Key words: dynamical referent, fictionality, time, referentiality, space
. XXXV (2010)
Annual Review of the Faculty of Philosophy, Novi Sad. Volume XXXV (2010)
Nataa Karanfilovi
karanfil@sbb.rs
Prema odreenju koje daje Mike Bal u uticajnoj studiji koja je postala klasik u oblasti izuavanja narativnih tekstova, tekst je konana, strukturirana celina
sastavljena od jezikih znakova (Bal 1997: 5). To to je skup znakova konaan ne
znai, meutim, kao to istie autorka, da su i znaenja teksta konana, kao ni njegovi
uticaji i uloge. Pripovedni tekst kazuje priu sluei se izabranim medijumom i ne
treba ga poistovetiti s priom, jer tekstovi se mogu razlikovati ak i ako prenose istu
priu.1 Pomenuta razliitost proizlazi ponajvie iz njihove strukture, to nesumnjivo
svrstava tekst u red vetakih tvorevina. Upravo to svojstvo teksta, odnosno naglasak stavljen na njegovu strukturiranost, ureenost, pa ak i sraunatost, ini ga
popritem kako postkolonijalnih tako i postmodernih knjievno-teorijskih polemika.
U Naratologiji (Narratology, 1997: 5) Mike Bal pria je isto ono to ruski formalisti zovu sie. To je
fabula prezentovana na odreeni nain, to jest, pria je nain na koji su dogaaji prikazani i ne treba je meati
sa fabulom, koja je niz logiki i hronoloki povezanih dogaaja koje uzrokuju ili doivljavaju akteri (vrioci
radnje).
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Nataa Karanfilovi
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Nataa Karanfilovi
pisaca kojom se dovodi u pitanje neprikosnovenost originala i dozvoljava glasovima s margine da progovore.
Kritiar Don Time (John Thieme) koristi termin ,,kon-tekstovi (Thieme
2002: 3-5) da oznai ona postkolonijalna dela koja uzimaju klasini engleski tekst
kao polazite s namerom da ospore autoritet kanona engleske knjievnosti. Konteksta vi neizostavno izazivaju preispitivanje navodno hegemoni)skog statusa svojih
kanonskih polazita, pri emu otvaraju pukotine u njihovim navodno vrstim temeljima. Glavni zadatak ,,kon-tekstova jeste osporavanje hegemonije kanona knjievnih
tekstova koji je nastao u kolonijalno doba i sainjen pod uticajem kolonijalne kulture i ideologije. Kon-tekstovi se uputaju u direktan, iako ambivalentan, dijalog
s kanonom u vidu reakcije na klasini, odnosno kanonski, engleski tekst, koji Time
oznaava kao ,,pre-tekst.
U romanu Dek Megs Piter Keri se poigrava zapletom Velikih oekivanja.
Veoma smelim i matovitim inom aproprijacije viktorijanskog teksta Keri pie postkolonijalni dikensovski roman dvadesetog veka. Dek Megs, ija se radnja deava
u Londonu u prvoj polovini devetnaestog veka, meavina je istorijskog romana, fiktivne (auto)biografije i metafikcije, sa izraenim elementom intertekstualnosti, jer su
likovi i pojedinosti zapleta preuzeti iz Dikensovog romana Velika oekivanja. Kerijev
roman iznova kazuje priu o Avelju Megviu, upisuje kolonijalno iskustvo u imperijalni narativ i smeta Megvia u sredite prie, nainivi ga glavnim junakom deavanja u kojima se Pip samo jednom nakratko pojavljuje, a Dikens igra istaknutu ulogu.
Na prvi pogled se ini da se Kerijev roman bavi vie preispisivanjem negativnih prikaza Australije kao kaznene kolonije, nego to nastoji da prikae Australiju
kao obeanu zemlju za radniku klasu. Dikensovog Megvia Keri ponovo stvara u
liku biveg robijaa Deka Megsa i s margina Dikensovog teksta premeta ga u centar vlastitog teksta. Sreni zavretak kojim je Megs nagraen u Australiji, meutim,
govori da je Keri u svoj roman ukljuio oba vienja Australije koja se nalaze i kod
Dikensa. I element osvete je ve prisutan u Velikim oekivanjima, jer, iako prognan,
Megvi je ipak taj koji povlai konce u ivotu jednog engleskog gospodina koji je
njegova vlastita kreacija, bez obzira to Pip toga nije svestan. Novac jednog zatvorenika posluio je stvaranju pravog londonskog gospodina - to je Megvieva suptilna
osveta drutvu koje ga je prezrelo. Isti motiv i Keri zadrava u svom romanu. Poput
Megvia, i Dek Megs dolazi u London da pronae mladia iji je dobrotvor bio
dugo godina. Za razliku od Megvia, Megs je o svom dolasku obavestio Henrija
Fipsa, koji za razliku od Pipa vrlo dobro zna ko mu je dobrotvor, te u elji da izbegne
susret naputa kuu i skriva se u klubu za gospodu. Megs, tako, vei deo romana
provodi u potrazi za osobom koja se skriva od njega. Naime, poto je kua u kojoj
se nadao da e nai Henrija Fipsa prazna, Megs postaje lakej u susednoj kui iji je
vlasnik skorojevi Persi Baki. Dok se nada Fipsovom povratku, u gluvo doba noi,
za radnim stolom u praznoj kui svog tienika u koju je uao preko krova iz Baklove kue, iz noi u no Megs pie o svom detinjstvu i dogaajima koji su se desili
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Nataa Karanfilovi
Misli se, pre svega, na romane Doivotna robija Markusa Klaka, Sudbina Riarda Mahonija Henri Handel
Riardson i Vos Patrika Vajta.
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Nataa Karanfilovi
Bradlev, James (1997). Bread and Sirkuses: Empire and Culture in Peter Carevs
The Unusual Life of Tristan Smith and Jack Maggs, Meanjin 56. 3-4: 657665.
Carey, Peter (1998). Jack Maggs. London: Faber and Faber.
Gandhi, Leela (1998). Postcolonial Theory: A Critical Introduction. New York: Columbia Universitv Press.
Said, Edward (1983). The World, the Text, the Critic. Cambridge, Mass.: Harvard
Universitv Press.
Said, Edward (1994). Culture and Imperialism. London: Vintage Books.
Thieme, John (2002). Postcolonial Contexts: JVriting back to the Canon. LondonNew York: Continuum.
Woodcock, Bruce (2003). Peter Carey. Manchester-New York: Manchester University Press.
Nataa Karanfilovi
THE WRITING BACK PARADIGM IN JACK MAGGS BY PETER CAREY
Summary
Jack Maggs by Peter Carey has been analysed in this paper as a postcolonial revisionist narrative which deploys an appropriation of linguistic, stylistic and thematic features
of a source narrative in order to insert the colonial experience in it and to erode the entire concept of an original text. Jack Maggs proves to be a particularlv clear example of the writing
back paradigm. However, Carey also questions the basic tenets of the paradigm, especially
the contention that the strength of a postcolonial text resides in its filial connection with an
English text. Carey disrupts the binary relationship of imperial and postcolonial texts by firmly
grounding his novel in Australian literary tradition and by creating an image in Jack Maggs of
a young Australian society that has overcome its colonial inhibitions.
Key words: postcolonial transformation, writing back, canon, Peter Carey.
. XXXV (2010)
Annual Review of the Faculty of Philosophy, Novi Sad. Volume XXXV (2010)
Ivana uri-Paunovi
ivanadjuricpaunovic@gmail.com
UDK 821.111(73)-3:114
Originalni nauni rad
TEKST I GRAD:
PREDSTAVE URBANIH PROSTORA
U SAVREMENOJ AMERIKOJ PROZI
Saetak
Kao dominantna postmodernistika tema, kako u teoriji tako i u praksi, prostor u
knjievnosti zauzima vano mesto u stvaralatvu savremenih amerikih prozaista. Svesni znaaja koji graenje tekstualnog prostora ima, sa estetskog, ideolokog i etikog stanovita, oni
mu pristupaju s velikom ozbiljnou i inventivnou. U radu se ispituju veze izmeu prostora,
teksta, identiteta i anrovskih matrica , razmatraju se naini na koje je prostor tekstualizovan
i kojima nadilazi ulogu pasivne pozadine dela. Takoe, razmatra se korelacija izmeu autorovog stvaralakog sopstva i njegovog fizikog okruenja, kao i to kako se taj odnos odraava na
sam tekst. Analiza polazi od teorijskih postavki Anrija Lefevra i Miela de Sertoa i primarno je
izvedena na romanu Grad od stakla, prvom delu Njujorke trilogije Pola Ostera. Pomou nje,
mogue je ukazati na dodirne take koje ovaj autor, u svojim narativnim postupcima kada je
prostor u pitanju, ima sa drugim savremenim amerikim prozaistima.
Kljune rei: prostor, prostorne prakse, tekst, identitet, grad, postmodernizam, anr,
amerika knjievnost.
Knjiga je na francuskom izala 1974, pod nazivom La production de lespace ( Paris: Anthropos), dok je
engleski prevod objavljen 1991, pod naslovom The Production of Space. (Trans. Donald Nicholson-Smith.
Oxford: Blackwell).
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Ivana uri-Paunovi
Veoma korisna objanjenja terminolokih nejasnoa Lefevrove teorije mogu se nai u tekstu Roba ildsa,
dostupnom na http://www.ualberta.ca/~rshields/f/prodspac.htm. Knjiga Understaning Lefebvre: theory and
the possible Stjuarta Eldena iz 2004, takoe nudi korisna objanjenja vezana tri vida prostora.
O genezi Lefevrove podele i termina videti u: Kanishka Goonewardena et al. Space, Difference, Everyday
life: Reading Henri Lefebvre, New York: Routledge, 2008. pp. 27-46.
Prostor teksta, dakle, moemo posmatrati kao posledicu ili proizvod ina
itanja u kome itaoci koriste svoja tekstualna i vantekstualna iskustva da bi proirili
intertekstualni i asocijativni prostor koji im tekst prua. S druge strane, koegzistiranjem fizikih i tekstualnih prostora, postojanjem prostora u materijalnom i imaginativnom registru, kako tvrdi Salmela, samo se jo vie istie priroda prostora teksta
kao umetnikog konstrukta. Neki pisci, poput Doktorova ili Ostera, i ne pokuavaju
da sakriju injenicu da su opisi stvarnih mesta takoe fikcionalne konstrukcije; njih
zanimaju upravo ti spojevi tekstualnog i materijalnog prostora jer kroz tekst itaoci
verovatno stvaraju istinitije i vernije predstave stvarnog prostora.
Kada govorimo o predstavljanju prostora u savremenoj amerikoj prozi, treba imati na umu da su to najee urbani prostori. Predstave gradova (meu kojima
one Njujorka zauzimaju najistaknutije mesto) neizbeno vode tumaenju kulturnih
kodova; u teoriji se istie pojam grada kao teksta ije iitavanje podrazumeva spoznaju koja se odnosi i na protagonistu i na drutvo. Dinamika koja postoji u knjievnim predstavama grada moe se odrediti kao meusobni uticaj realne sredine i teksta: materijalna stvarnost urbanog okruenja oigledno odreuje neke od parametara
predstavljanja, ali i tekstualne prerade te stvarnosti takoe utiu na fiziki prostor
putem oblikovanja mentalnih slika o gradu i time utiu na sile koje stvaraju realni
prostor. O meuzavisnosti dva oblika prostora veoma jasno govori Dejms Donald u
svom tekstu Ovo, ovde, sada: kako zamiljamo moderni grad:
Odnos koji se uspostavlja izmeu romana i grada ne svodi se samo na predstavljanje.
Tekst aktivno konstituie grad. Pisanje ne belei i ne odraava tek injenicu grada.
Ono ima svoju ulogu u njegovom stvaranju za italaku publiku.[ ...] Postoji
slobodna migracija slika i pria izmeu arhiva i bibilioteke. Njihovo cirkulisanje
stvara simboliku monetu koja nam omoguuje da se seamo, opisujemo i tako
pregovaramo o predstavama grada. (Donald, 1997:184)
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Ivana uri-Paunovi
Drugi stepen razgradnje identiteta glavnog lika oituje se u imenima iza kojih se krije. Ovde na delu imamo ono proirivanje prostora teksta pomou aluzija i
asocijacija kojima italac raspolae na osnovu prethodnih iskustava. Danijel Kvin
svoje romane potpisuje kao VilijamVilson dvostruki odmak postignut je aludiranjem na Poovog junaka iz istoimene pripovetke u kojoj figurira motiv dvojnika. Meutim, najdoslednija identifikacija, od kljune vanosti za radnju dela, sprovedena je
kroz protagonistu iz Kvinovih romana, kroz detektiva Maksa Vorka, ije postupke
glavni junak primenjuje u svom sluaju, ime se ukidaju razliiti nivoi tekstualizovanja prostora, i zbog ega itava pripovest poinje da se uruava. Naime, primenjujui prostornu logiku detektivskih romana koje pie, Kvin pomilja da moe da
rei sluaj koji postoji u ravni objektivne stvarnosti teksta, i tu doivljava krah. Kada
odgovori na telefonski poziv, i poto se predstavi kao detektiv Pol Oster, Kvin pristaje na eksternalizovanje maske Maksa Vorka, iznosi je u svet, oslobaa stege reenica
u kojima ovaj jedino i postoji, i baca ga u glib logike koja izvan teksta ne moe da
funkcionie. Prvi korak u njegovom reavanju sluaja Pitera Stilmana predstavlja
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Ivana uri-Paunovi
Ova lica, iji se opis protee na dve i po strane, nekada su zauzimala prostore koji su ih stavljali u drugaiju vrstu urbanog konteksta. Iz njih su izbaeni pod uticajem ekonomskih, politikih ili sopstvenih unutranjih poremeaja ime su izgubili
pravo da slede pravila dominantnog modela urbanog ponaanja. S druge strane, taj
model je presudno uticao na njihovo pomeranje na marginu. Iako neki od stanovnika
ulice vrlo kreativno koriste marginalizovane prostore koje su zauzeli, oni ostaju anonimni i nevidljivi za veinu. Apsurdno je to se ta nevidljivost ukida samo u trenucima kada fiziki treba zaobii prostor koji zauzimaju. Dok belei ono to vidi, Kvin
nasluuje i sopstveni prelazak u sloj beskunika s obzirom na to da i sam spada u
90
Ivana uri-Paunovi
toenitva zapravo nagovetaj Kvinove sudbine na kraju prie, kada ostaje zatvoren
u praznoj sobi da se bori s jezikom: Mrak, mrak. Devet godina. Ni jednog jedinog
prozora. Jadni Piter Stilman... Nem i nag. Izvinjavam se. Nikad vie. (Grad od stakla, 21). Meutim, kasparhauzerska situacija Stilmana mlaeg sutinski se razlikuje
od naizgled nemotivisanog, dobrovoljnog izgananstva i zatoenitva Danijela Kvina
koji svoju egzistenciju vezuje za prostor teksta, za crvenu svesku koja se polako blii
kraju. I tek tada itaoci u potpunosti odbacuju svako oekivanje vezano za detektivski anr. Shvatamo da je itava pria do tada bila ponitavanje anra, segment po
segment, njegova razgradnja, da sredite koje se pomeralo napred nije imalo nikakve
anse da stigne do razreenja, ne sluaja, nego i same pripovesti. Razlog za takav postupak verovatno lei u pievoj tenji da destabilizovanjem elemenata romaneskne
konvencije prikae nestabilnost likova u okruenju metropole s jedne strane, i isto
tako da bi problematizovao odnos izmeu itaoca i teksta s druge. Kada pokida sve
veze sa sobom, sa gradom, Kvin raskida i one koje ima sa jezikom:
Malo pomalo, Kvin se bliio kraju. U jednom trenutku shvatio je da to vie pie,
to e skorije kucnuti as kad vie nee moi nita da napie. Poeo je vrlo briljivo
da odmerava rei, nastojao je da se izrazi to je mogue svedenije i jasnije. Bilo mu
je ao to je straio toliko stranica na poetku crvene sveske, i zapravo je zaalio
to se uopte trudio da pie o sluaju Stilman. Jer, taj sluaj sada je bio daleko iza
njega. Taj sluaj bio je most ka novom mestu u njegovom ivotu, i sada, kada ga je
preao, vie nije imao nikakvog smisla. Kvin je izgubio svako zanimanje za samog
sebe... Oseao je da su mu rei otete, da su postale deo vaskolikog sveta, stvarne i
odreene koliko i kakav kamen, jezero, ili cvet... Ipak, pokuao je da se hrabro suoi
s krajem crvene sveske. Pitao se da li bi bio u stanju da naui da pie bez olovke,
da li bi umesto toga mogao da naui da govori, da ispunjava tamu svojim glasom,
da izgovara rei u vazduh, u zidove, u grad, ak i ako se svetlost vie nikada ne bi
vratila. Poslednja reenica u crvenoj svesci glasi: ta e se dogoditi kada vie ne
bude bilo listova u crvenoj svesci? (Grad od stakla, 118-119)
Ostaje bremenito pitanje da li Kvin, ba kao i Stilman stariji pre njega, mora
da nestane s lica teksta zbog toga to primenjuje neodgovarajue lingvistike i urbane strategije, ili je tek kolateralna teta u procesu postmodernistikog iscrpljivanja
anrovske matrice detektivskog romana, tog, po Makhejlu, epistemolokog anra par
exellence. (Makhejl, 1987) I dok su metatekstualni i anrovski aspekti ovog romana
detaljno ispitani u vie od dvadeset radova od devedesetih do danas, razmatranje
predstava urbanih prostora i tekstualnosti u ovom delu poelo je relativno nedavno
iako je sam pisac, vrlo svesno, jo u ranoj fazi svog stvaranja, naeo temu koja e, na
razliite naine, obeleiti i sva ostala dela njegovog opusa.
U razmatranju znaaja prostorne paradigme u amerikoj knjievnosti uopte
treba imati na umu i njeno pojavljivanje unutar istorijskog toka: otvoreni, nenaseljeni prostori od formativnog uticaja za nacionalni karakter, oblikovali su dominantnu
ideologiju i teleologiju koja je kao cilj imala progres, napredovanje, kretanje napred,
92
Ivana uri-Paunovi
Ivana uri-Paunovi
TEXT AND THE CITY:
REPRESENTATIONS OF URBAN SPACES
IN CONTEMPORARY AMERICAN FICTION
Summary
The paper addresses the question of textual representations of urban settings in contemporary American fiction. Starting with some of key theoretical ideas of spatial production
(notably those of Lefebvre and de Certeau), and through the analysis of Austers City of Glass
as a text which most openly asserts the existence of a dynamic relationship between the text
and the space it constitutes, the authors intention is to show some recurrent elements that
undergo certain changes by the textualisation of the urban space. At the same time, these elements influence the very concept of space and the spatial practice connected to it. Forming or
dissolving of identites, writing as a means of making sense of the movements, urban strategies
with expiration dates, all these things play an important role in contemporary American novel
and its spatial production. On top of it all, there are readers with their own sense for spatial
and textual practices.
Key words: text, space, spatial production, urban envirnoment, detective novel, contemporary American novel.
. XXXV (2010)
Annual Review of the Faculty of Philosophy, Novi Sad. Volume XXXV (2010)
lolita@neobee.net
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Rich, Frank (1981). Albees Adaptation of Lolita Opens. The New York Times, 20
March 1981. [http://www.nytimes.com 9/2/2009]
Savage, Charles (1997). A Paradise with Skies the Color of Hell Flames: Adrian
Lynes (Unseen) Adaptation of Lolita. The Harvard Advocate, Winter
1997/1998. [http://www.hcs.harvard.edu/~advocate/winter98/Lolita97.html
9/2/2009]
Tompa, Andrea (2008). Staging Nabokov. Nabokov Online Journal. Vol.II/2008.
[http://etc.dal.ca/noj/volume2/articles/09_Tompa.pdf 28/9/2008]
Bojana Vujin
DRAMATIC ELEMENTS AND THEIR FUNCTION IN NABOKOVS LOLITA
Summary
As Vladimir Nabokovs most famous work, Lolita has been the subject of numerous
critical studies; however, the authors use of dramatic elements has, curiously, been mostly
ignored even in the analyses that deal with the works genre. This paper tries to rectify that
fact, by analysing elements of drama that Nabokov uses in Lolita, both thematic and formal
ones. The analysis shows that neither the authors choice to present certain scenes in the form
of mini-plays, nor his insertion of a great number of thematic elements of drama, is by any
means incidental, but instead has a purpose in illuminating the complex relationships between
imagination and reality, reader and narrator, and narrator and the novel. Furthermore, a brief
overview is given of various stage and film adaptations of Lolita, and the reasons why none of
them can compete with the original novel are explained.
Key words: Vladimir Nabokov, Lolita, drama, narration
. XXXV (2010)
Annual Review of the Faculty of Philosophy, Novi Sad. Volume XXXV (2010)
Arijana Luburi-Cvijanovi
alcvijanovic@ff.uns.ac.rs
Post-colonial narratives, inhabited by countless numbers of frequently nameless and voiceless selves struggling to come to terms with the discrepancies in their
worlds and identities, often focus on the constructed images of the Others and the attempts of the Others to reclaim or assert what they see as their true face. In reality as
well as literature, for generations, they were powerless to fight against the imposed
views of them as inferior, primitive, and barbaric lesser peoples (Said 2003: xvi) who
occasionally possessed an exotic charm. Deprived of their lands, histories, traditions,
religions, names and even voices, they were and still are confined to a state often described as that of in-betweenness, trapped in the gap between cultures and, therefore,
uncertain of their sense of self. In her famously (or notoriously) angry literary essay A
Small Place, Antiguan born American writer Jamaica Kincaid goes further and portrays
the newer generations of Antiguans as foreigners in the country of their birth.
*
This deeply personal scrutiny of the social and political consequences of colonization addresses the white European or North American tourist in an overtly accusa-
104
Arijana Luburi-Cvijanovi
tory tone expressive of a sense of intolerable and irreversible wrong done to the authors
people and people like her. It is important to note that, despite her accusations against the
English, in the essay On Seeing England for the First Time, Kincaid shows her awareness
that things probably would not have been different if she had had the power that would
have made her think she was in divine favour. Could I resist it? No one ever has.
(Kincaid 1991: 9) Discussing the state of affairs in modern Antigua and tracing the roots
of the problems of corruption, lack of healthcare, bad roads, or foreign ownership back to
the British rule, she embarks on a brief but painfully perceptive and unforgiving exploration of history, identity, and domination, which spares neither the former colonizer nor
Antiguans, which she describes in an interview as little, insignificant people that great
things happen to: slavery, America, the British. (Gates 1990: 499)
The essays opening section is a heavily ironic description of what the tourist might, or rather, might not notice in Antigua. Having left the banality of his life,
the monotony of the hard and cold and dark and long days spent working in North
America (or, worse, Europe), (Kincaid 1988: 4), he arrives in what he sees as an
earthly paradise and immediately feels cleansed, blessed and free. (Kincaid 1988:
5) He catches glimpses of a few odd things bad roads; taxi drivers, who may or
may not have passed the driving test, in brand-new cars bigger than their houses;
the hospital with doctors that Antiguans do not trust; the damaged library without
ever searching below the surface. Below the surface lies so much confusion about
exploitation, oppression and domination that thinking about it might ruin his holiday.
His innate sense of his own superiority and confidence in the justice of the system he
lives in and the favours it has done to people like Antiguans, blinds him to anything
that does not fit in his idea of a perfect holiday or, worse, anything that could point
to the true nature of the favours done. The fact that Kincaid chooses to address the
tourist instead of some other North American or European species hits the target
straight on account of the habitual failure of tourists in underprivileged countries to
acknowledge the deprivation that surrounds them there.
In parts two and three, Kincaid dispels any potential doubts as to what it is
precisely that causes her heavy sarcasm. Contrasting the Antigua she once knew with
the one she sees now, Kincaid blames the English not only for the wrongs committed
during the period of colonization, but for the effects of their bad deeds on independent Antigua, as well. It may seem paradoxical that the situation in autonomous Antigua is even worse than under the British rule, but it becomes clear that the paradox is
only apparent when one bears in mind that corruption stems from poverty and chaos,
and in Kincaids words, this is exactly what the British left behind. They came, did
harm that no natural disaster imaginable could equal, (Kincaid 1988: 23-4) teaching those who were not English and could never become English how to behave like
the English, systematically erasing the natives history and making them feel in awe
and small, making them feel that they were nothing and should even be grateful for
105
Englands conquest of their land. (Kincaid 1991: 4, 7) The ensuing confusion provided fertile ground for all the social and political problems modern Antigua faces.
Focusing on the Antiguans economic as well as cultural enslavement, Kincaid depicts the process by which the English were trying to turn Antigua into England. The moment the English stepped onto Antiguan soil in the seventeenth century
was also the moment Antiguans lost hold of their land and lives. This period is what
she refers to when she describes the Great Western Tradition as a tradition of incredible cruelty and suffering and injustice not to mention murder, complete erasing
of whole groups of people, (Gates 1990: 502) a tradition which made the West rich
from the free [] and then undervalued labour, for generations, of the people like
me (Kincaid 1988: 10) who worked as slaves or indentured laborers in the colonys
sugar plantations. Upon the abolition of slavery, former slave-traders, such as the
Barclay brothers, people to whom other human beings were merely commodities
(Kincaid 1988: 26) went into even more profitable business, banking, and Antiguans
still remember the name of and the day the first black person was hired to work at the
Barclays Bank. Foreign capital in general was invested in businesses that Antiguans
had no access to, except as servants. (Kincaid 1988: 27) These and other such examples in A Small Place serve to illustrate the attitude of the West that, as Kincaid says,
people like me cannot run things, people like me will never grasp the idea of Gross
National Product, people like me will never be able to take command of the thing the
most simpleminded among you can master, people like me will never understand the
notion of rule by law, people like me cannot really think in abstractions, people like
me cannot be objective, we make everything so personal. (Kincaid 1988: 36) What
the West fails to realize is that Antiguans are shy about being capitalists because they
were capital once. (Kincaid 1988: 36-37)
Englands cultural domination was, perhaps, a more determining factor in
the formation of Antiguas ambiguous identity, with colonial education playing a
crucial role in it. Seemingly out of their great love of knowledge, the English built
schools and libraries, in streets named after maritime heroes or criminals, depending
on the point of view. In reality, they were designed to distort and erase Antiguan history and glorify their own. (Kincaid 1988: 36) In them, Antiguans would learn about
the history and culture of a country they had never visited, a civilized country of
mythical proportions and quite literally unimaginable beauty. They were taught about
the kings, queens and heroes of the British Empire - a version of the British history
devoid of the concepts of exploitation and slavery, about English literature, which
was particularly important in the process of cultural subjugation, as it caused those
from the periphery to immerse themselves in the imported culture, denying their
origins in an attempt to become more English than the English, (Ashcroft 2004:
4) and English manners, learning all the while about how special the English were,
learning, as Kincaid says, that the world was theirs, not mine. (Kincaid 1991: 6)
106
Arijana Luburi-Cvijanovi
For an in-depth analysis of the linguistic complexities in the Caribbean, see Elleke Boehmer, Colonial and
Postcolonial Literature and Bill Ashcroft, Gareth Griffiths and Helen Tiffin, The Empire Writes Back.
107
one. The economic and cultural impact of colonialism on countries like Antigua is so
profound as to be considered among the most significant determining factors, if not
the most significant one, in the formation of the contemporary realities and identities of post-colonial societies. They became who they are now along the lines of the
well-known binary oppositions centre/margin, colonizer/colonized, white/non-white,
superior/inferior, master/slave, etc. After centuries of lying hidden beneath and even
succumbing to constructed images of inferiority, they emerged not as they used to be
before the imperial rule, but displaced, alienated from their roots, unable and sometimes unwilling to remember who they once were. Instead, they are concerned with
who they are today, and Antiguans today are people whose history contains no Industrial Revolution, no revolution of any kind, no Age of Anything, no world wars,
no decades of turbulence balanced by decades of calm. (Kincaid 1988: 79)
For Antiguans, however, it is not only a question of their sense of self. Depicting
the state of affairs a few years after the country gained independence, Kincaid points out
that ownership, protected by a British based legal system, is largely in the hands of foreigners. Banks, casinos, clubs, car dealerships, land, etc. are all owned by North Americans, Syrians, the Lebanese or, of course, the English, among others. While searching for
information on the current situation in Antigua, I came across a text from which I took
the following quote. Note that the same aspects of Antiguan past and present that Kincaid
resents seem like benefits from the point of view of the English today.
When we set about seeking the ideal location for our own holiday home,
Antigua met all our essential criteria. We wanted to escape the worst of
the winter months in England, and Antigua offers true winter sunshine and
warmth that cannot be guaranteed at that time of the year in Europe or North
America. It has an English speaking population and a culture and history
influenced by centuries of British governorship, making extended holidays
and home ownership much easier to manage and enjoy. (emphasis added)
(http://www.jollyvillas.com/Property%20Buying%20in%20Antigua.htm)
To an extent, tourism adds to this as Antiguans are banned from some hotel
beaches, despite the fact that all the beaches in Antigua are by law public, and the
degradation and humiliation of their daily lives is turned into a tourist attraction.
(Kincaid 1988: 69) Needless to say, corrupt local politicians and businessmen only
contribute to the sale of Antigua whose beauty Kincaid describes as unreal. (Kincaid 1988: 77)
*
This imaginary journey to Antigua, written upon Kincaids visit to her home
island, is neither the authors fictional homecoming nor a reconstruction of her homeland or a rewriting of its history. The essay is a bitter and occasionally shockingly
frank comment on the socio-political situation in independent Antigua and its causes.
108
Arijana Luburi-Cvijanovi
With the desire to be crude and impolite, she decided to give voice to her rage as
the first step to claiming herself, (Gates 1990: 498) or perhaps to regaining Antigua.
In an interview, Kincaid singled out Miltons Paradise Lost as a major influence on
her writing. In a way, Miltons masterpiece was also influential on this essay. In the
final section of A Small Place, the author depicts the magic beauty of Antigua. The
scarcely credible magnificence of the landscape and its colours is what makes the
island a tourist paradise, a paradise which for Antiguans may be a lost one.
REFERENCES
Ashcroft, B., Griffiths, G., Tiffin, H. (2004). The Empire Writes Back, New York:
Routledge.
Boehmer, E. (2005). Colonial and Postcolonial Literature, Oxford: Oxford University Press.
Gates, H. L. ed. (1990). Reading Black, Reading Feminist. A Critical Anthology, New
York: the Penguin Group, Meridian.
Kincaid, J. (1988). A Small Place, New York: Farrar, Straus and Giroux.
Kincaid, J. (1991). On Seeing England for the First Time.
Available at: http://www.wpunj.edu/library/reserves/Malachowski/mal110_3.pdf.
Rushdie, S. (1992). Imaginary Homelands, London: Granta Books.
Said, E. (2003). Orientalism, London: Penguin Books.
Arijana Luburi-Cvijanovi
STRANCI PO ROENJU: JEDNO MALO MESTO DAMEJKE KINKEJD
Rezime
Ukazujui na naslee kolonijalne uprave i posledice sloenih odnosa moi
koji i dalje vladaju, Damejka Kinkejd izraava bes zbog politike, ekonomske i kulturne sputanosti Antigve iji je rezultat upropatena privreda u rukama korumpiranih
politiara kojima upravlja Zapad. Foreigners by Birth (Stranci po roenju) ima za cilj
da rasvetli ograniene mogunosti koje takva situacija namee obinom Antigvancu
budui da on ima malo koristi od formalne nezavisnosti i ostaje zarobljen u procepu
izmeu rasa i kultura.
. XXXV (2010)
Annual Review of the Faculty of Philosophy, Novi Sad. Volume XXXV (2010)
goranavidak@ptt.rs
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. 119
Gorana Raicevic
EROS AND SACRIFICE: ON PEACE AND WAR
IN THE NOVEL SEOBE BY MILOS CRNJANSKI
Summary
The essay is concerned with the way the world of Crnjanskis novels is divided on
the world govern by masculine ethos one of the heroes and wars on the one side, and the
world of female principle, where Eros play decisive role, on the other. The idea is presented
on the case of the novel Seobe (Migrations) published in 1929.
Key words: Milos Crnjanski, male, female, hero, sacrifice, Eros
120
. XXXV (2010)
Annual Review of the Faculty of Philosophy, Novi Sad. Volume XXXV (2010)
Slobodan Vladui
stalker@eunet.rs
UDK 821.163.41.09-3
Originalni nauni rad
122
Slobodan Vladui
Kod Kia ostaje nejasno kako uopte postoje asni ljudi i pouzdani svedoci: lano svedoanstvo Eduarda
Erijoja nije proizvod svesne elje da se zabauri istina, ve pre simbol nune deformisanosti svedoanstva o
kojoj nas pouava postmoderna teorija. Otuda je oslanjanje knjievnosti na asne ljude i pouzdane svedoke
razultat, pre svega, volje za pouzdanou svedoanstva.
124
Slobodan Vladui
126
Slobodan Vladui
Ovo je kontekst u kome treba itati Petrovievo tematizovanje odnosa izmeu istorije i prie u romanu Opsada crkve Svetog Spasa kako bi se videlo ta se od
takve etike prie pojavljuje u ovom romanu i na koji nain. Zato je od velike vanosti
analizirati najavljeni odlomak koji ve naslovom ,,Susret prie i istorije objavljuje svoju autopoetiku prirodu. Nau panju privlai replika tuinca (prie) kralju
Milutinu (istoriji): ,,Drumska kuina je moda i tvoja, ali svega ostalog ja sam vladar (Petrovi 2004: 192). Na prvi pogled, ona ne ide dalje od aristotelovskog sudara
pesnike optosti, optosti prie i pojedinane prirode istorije: razlika izmeu druma
i svega ostalog, sugerie razliku izmeu onoga to se dogodilo i svega onoga to je
moglo da se dogodi. Meutim, prevelika panja usmerena na ovaj detalj skrenula bi
pogled sa ishoda puta kralja Milutina prema opsaenom manastiru ii. To to istorija ne stie do crkve Svetog Spasa ovde je od odluujue vanosti: to znai da istorija
ne moe da bude od pomoi manastiru, ali znai i to da istorija ne polae pravo na
ono to se nalazi u manastiru: to je aneosko pero u bradi igumana Georgija. Istorija
je ovde drum koji ne vodi nikuda.
Ako opseena crkva ne pripada istoriji, kome onda pripada? Pripada prii:
ta veza nije izreena direktno, ve preko metonimijskih prenosnika koji grade mreu
simbola koji meusobno upuuju jedan na drugi. Kljuni predmet u manastiru je aneosko pero jedino pero koje nedostaje knezu imanu da kompletira svoj plat od
priijeg perja pa se to pero pojavljuje kao sinonim za manastir i opsednutu crkvu. U
tom sluaju, stav da ,,svaka re ima svoje pero () samo tako ispisana ona ima puno
znaenje (Petrovi 2004: 272) ne moe biti shvaen tek kao puka fantazija, ve pre
svega kao autopoetiki iskaz koji dovodi u metonimijsku vezu pero i re. Na taj nain, aneosko pero postaje aneoska re, a pohod kneza imana na manastir postaje
pohod istorije (budui da je knez iman istorijski lik) na re. Ako ta aneoska re ne
pripada istoriji, ona mora pripadati prii.
U tako postavljenoj konstelaciji simbola unutar Petrovievog romana, nije
udno to monasi opsednutog manastira nemaju drugog naina da se suprotstave napadaima, osim priama. Nije udno ni to posada tvrave Magli ne moe da ih
spasi, ni to to kralj Milutin ne moe da im stigne u pomo. Otuda u Petrovievom
romanu nisu retke scene u kome trajanje subjekta direktno zavisi od trajanja prie o
subjektu. Tako dolazimo do obrta u odnosu izmeu subjekta i prie koji je karakteristina za Petroviev roman: nije vie subjekt taj koji vlada priom, ve obratno.
Petrovievo razumevanje prie time je suprotstavljeno konceptu prie koju
zatiemo kod Andria. Naime, lik fra Petra, majstora pripovedaa, nemogu je kod
Petrovia, jer kod Petrovia pria ima prednost u odnosu na pripovedanje. Lik majstora pripovedaa svedoi o Andrievoj potrebi da etiki potencijal prie izgradi na
pozadini lepote pripovedanja. Bez tog kontapunkta, etinost prie ne bi mogla da
se odri kao relevantna u nihilistikoj atmosferi visokog modernizma: ona bi bila
nagriena sveu o krahu svih vrednosti, pa tako ne bi imala gde da se ukoreni. Tako
etinost prie kod Andria uvek ostaje slabo vidljiva, ali prisutna senka lepote i ve-
128
Slobodan Vladui
Slobodan Vladui
SIEGE OF THE SAINT SALVATION CHURCH
AND HISTORIOGRAPHIC METAFICTION
Summary
This work analyses the relationship between history and story/literature in Goran
Petrovics novel The siege of Holy Salvations church in context that is given by historiographic metafiction. It is shown through the text how in Andrics and Kis works as well as in
postmodern historiographic metafiction, survives Aristotels giving of the upper hand to story
in favour of history. However, the argumentation is being changed: history is no more just a
presentation of individual compared to a presentation of general in poetic art, as in Aristotels
works, but the insight to its fictionalism. This puts at stake not only the history, but everything
that is built on its fundations. The undermining of historys significance is seen in the wider
context of establishing values of human rights and cosmopolitan consciousness on foundations of disparaging history, which retroactively has an impact on the relation between history
and story: now a story bases its advantage on ethical qualities which history lacks, which is
considered to be the history of violation of human rights or some other minorities by the represive majority. Petrovics novel is interpreted as a symbolic effort in spirit of ethical advantage
of story over history, to exchange political history of one nation by history of story and language, in other words by its cultural history, acting as a new cohesive element of a community.
130
. XXXV (2010)
Annual Review of the Faculty of Philosophy, Novi Sad. Volume XXXV (2010)
Zorica ergovi-Joksimovi
djzorica@eunet.rs
PEKIEVA ENGLESKA:
PRIMERI APROPRIJACIJE U ROMANU BESNILO
Saetak: U radu se razmatra problem aproprijacije u romanu Besnilo (1983) Borislava Pekia. U tom pogledu, uoene su dve vrste aproprijacije, znaajne ne samo za opus
Borislava Pekia ve i za srpsku knjievnost. Aproprijacija Engleske kao mesta deavanja
radnje dovela je do pojave originalnog Pekievog hronotopa, dok aproprijacija anra romana
katastrofe, odnosno, ire gledano, naune fantastike ima pionirski znaaj za posleratnu srpsku
knjievnost jer uvodi prvi put ovaj anr u knjievnost glavnog toka.
Kljune rei: antropologija, aproprijacija, Borislav Peki, Besnilo, Engleska, nauna
fantastika, roman katastrofe, srpska knjievnost
132
Zorica ergovi-Joksimovi
Vie o raanju naune fantastike u srpskoj knjievnosti videti u Bojan Jovi (2006). Raanje anra: Poeci
srpske nauno-fantastine knjievnosti. Beograd: Institut za knjievnost i umetnost.
Pekievo Besnilo je, zapravo, meavina vie anrova (detektivski roman, triler, ljubavni roman), ali je anr
romana katastrofe najdominantniji.
134
Zorica ergovi-Joksimovi
kako na filmu tako i u knjievnosti, doivljavao pravi procvat.3 Od filmova sa slinom tematikom izdvojiemo britanski hit Kasandrin most (The Cassandra Crossing,
1976) reditelja Dorda Pana Kosmatosa, u kome se javljaju neki elementi za kojima
e posegnuti i Peki u Besnilu.4 Na knjievnom polju, 1978. godine Stiven King, najpoznatiji savremeni pisac horora, objavio je roman Uporite (The Stand) o pandemiji
izazvanoj mutiranim supervirusom gripa,5 koji se smatra jednim od najznaajnijih
romana ovog anra. U to vreme, u srpskoj knjievnosti i dalje suvereno vlada tzv.
stvarnosna proza, a retki disonantni glasovi potisnuti su u drugi plan, posebno u knjievnosti glavnog toka, o emu i sm Peki u dnevnikim belekama iz 1983. godine
iznosi zanimljiv stav:
Ne razumem izraz stvarnosna proza. Meni se on ini krajnje nepogodnim
eufemizmom za neto to se pojedini kritiari ne usuuju nazvati pravim imenom,
ili za ta se pravo ime ne moe nai. Svaka proza koja se bavi ovekom i njegovom
egzistencijom u ma kom vremenu i u ma kojoj formi, ako je dobra stvarnosna je,
jer opisuje jednu stvarnost takvog oveka. Pitam se gde su se izgubili stvarni
napori prema sintezi, ta je bilo s takozvanim vremenom romana, onako kako ga ja
shvatam, kao slike jednog doba, jednog duha, kao neeg to obuhvata sve elemente
jedne stvarnosti, a ne samo naroito izabrane i nereprezentativne esto puta.
Sada se tek vidi koliko je bio rav uticaj tzv. teorije o stvarnosnoj literaturi Naim
piscima nedostaje vizija, imaginacija, snaga da se mae dubljih i veih tema, da se
bave uzrocima, a ne pojavama, a iznad svega nedostaje im misaonost, obrazovanje i
hrabrost. (Peki 2010: 17)
5
6
Vie o tome videti, npr., u Brian Stableford (2006). Science Fact and Science Fiction: An Encyclopedia. New
York London: Routledge.
Terorizam, politike igre, bioloki rat, smrtonosna mutirana bakterija samo su neki od elemenata zajednikih
ovom filmu i Pekievom romanu. Zanimljivo je da se radnja filma odigrava u vozu, koji je, kao i Pekiev
londonski aerodrom, izdvojen od ostatka sveta, a ipak, zahvaljujui razliitom drutvenom i nacionalnom
poreklu putnika, taj svet predstavlja u malom. Kao i veina dela anra katastrofe i Kasandrin most izrasta u
drutveno-politiku alegoriju.
Kingovo izdanje iz 1978. godine bilo je drastino skraeno, a dopunjeno i proireno izdanje objavljeno je tek
1990. godine.
Duli Sanders primarno govori o aproprijaciji i adaptaciji viktorijanske proze, ali se zakonitosti koje ona
uoava mogu primeniti i na Pekiev postupak.
Roman Besnilo doiveo je nekoliko izdanja, to svedoi o izuzetno dobrom prijemu kod italake publike.
Peki je tvrdio da dela iz ove trilogije ne treba itati onim redom kojim su objavljivana ve da treba slediti
niz Besnilo, Atlantida, 1999.
136
Zorica ergovi-Joksimovi
jasno zato on jedini na Hitrou nije oboleo od besnila. Ni iskonsko zlo, koje predstavlja Velika zver, naravno, ne moe biti u potpunosti savladano ni iskorenjeno jer u tom
sluaju ni sukoba a ni istorije ne bi bilo ili, kako je to jo Berajev primetio:
kada ne bi bilo slobode zla, koje je vezano s osnovnim naelima ovejeg ivota,
kada ne bi postojalo mrano naelo, onda ni istorije ne bi bilo a svet ne bi poeo od
poetka, ve od kraja, od savrenog carstva Boijeg koje se zamilja kao savreni
kosmos u obliku savrenog dobra i savrene lepote. Ali istorija sveta nije poela
od savrenog kosmosa, zato to je istorija sveta poela slobodom, slobodom zla.
(Berajev: 27)
Peki se, dakle, dobrano potrudio da nam i na jezikom nivou doara engleski milje, kao da je, suprotno reima iz uvodne napomene, eleo da nam predoi da je
jedino u Engleskoj zamislivo da se odigra radnja njegovog romana. A zapravo, ako se
jedna tako strana tragedija, koja sa sobom donosi pesimistiko i fatalistiko vienje
ne samo ljudske prirode ve i ljudske istorije, moe desiti u jednoj demokratskoj Engleskoj, onda je i itav svet suoen s ozbiljnom opasnou i nalazi se na ivici ponora.
Iako je u svetskoj knjievnosti bilo sluajeva da se pisci odreknu svog maternjeg jezika i prigrle jezik i kulturu zemlje u koju su emigrirali (npr. Konrad, Beket,
Nabokov), nisu toliko esti primeri da pisac na svom, maternjem jeziku pie o zbivanjima u tuini, pri emu su i junaci tuini. U srpskoj knjievnosti, u tom pogledu,
pretea Pekievog Besnila je Roman o Londonu Miloa Crnjanskog, koga su za Englesku i London, kao i Pekia, vezivali neveseli emigrantski dani provedeni tamo. I
ba kao to je u londonskoj sudbini Rjepnina lako prepoznati ne samo usud Miloa
Crnjanskog ve i svih prolih, sadanjih i buduih emigranata, tako i Pekiev naunofantastini roman o londonskoj epidemiji besnila govori i o politikom i svakom
drugom besnilu u njegovoj sopstvenoj zemlji, tadanjoj SFRJ,9 ali i o svim prolim i
sadanjim apokalipsama koje su zadesile svet, kao i o onim buduim, koje su tek pred
nama. Naalost, vie od dvadeset godina od objavljivanja Besnila mutirani virusi,
meunarodni terorizam i sve vei jaz izmeu bogatih i siromanih teme su koje more
svetsku javnost i to moda i vie nego ikada pre a nesporazumi i nadgornjavanja
tradicionalnih politikih oponenata Engleske i Amerike, s jedne strane, i Rusije, s
druge, i dalje traju. Podsetimo se, u okviru politiko-pijunskog trilera sadranog
u ovom romanu glavne uloge igraju jedan engleski i jedan ruski obavetajac; u de9
Godine 1972. u Srbiji je izbila epidemija velikih boginja, koja je uspeno okonana, zahvaljujui, izmeu
ostalog, vakcinaciji, proglaenju vanrednog stanja i strogim karantinskim merama (naoruani vojnici uvali
su karantinske ustanove, a kretanje stanovnitva bilo je strogo kontrolisano). I ovaj dogaaj mogao je Pekiu
da poslui kao osnova za njegov roman o epidemiji besnila na londonskom Hitrou.
138
Zorica ergovi-Joksimovi
tektivskom delu prie jadni i ponieni sitni bankarski slubenik ubija svemonog
bankara, a sluaj se jedini trudi da rei veito prezreni policijski pozornik s Jamajke
koji, izmeu ostalog, pokuava da dokae svoju lojalnost imperiji. Nosioci ljubavne prie su, pak, jedna Palestinka i jedan Izraelac, dok znatan deo romana zauzima
i pria o meunarodnom terorizmu kao pretnji svetskoj bezbednosti. O aktuelnosti
prie o poasti koju moe da izazove mutirani virus izlino je i govoriti, kao i o sve
prisutnijem strahu od raznih prirodnih katastrofa. Peki je, dakle, opredelivi se za
anr romana katastrofe, napisao dijagnozu stanja u kome se, po njemu, nalazi itav
svet i celokupan ljudski rod.
injenica da se i posle romana Besnilo Peki vraao Engleskoj i engleskim
junacima potvruje tezu da je re o znaajnom elementu Pekieve poetike. Aproprijacijom engleskog miljea i engleskog govornog podruja Peki je u svom opusu izgradio paradigmatian hronotop, koji je kasnije, u Atlantidi preko jezikih, kulturnih i
istorijskih veza koje postoje izmeu Engleske i Sjedinjenih Amerikih Drava proirio i na Ameriku. Time je, svakako, srpsku knjievnost u pogledu mesta deavanja
radnje izveo iz usko nacionalnog zabrana. Mnogo je, meutim, znaajnije to to svojom antropolokom trilogijom, koja otpoinje romanom Besnilo, nije samo napisao
oma velikanima naunofantastine i distopijske knjievnosti a kao prvi namee
se, svakako, Dord Orvel ve je, prilagoavajui svojim potrebama i svom vremenu ideje svojstvene naunoj fantastici, stvorio originalno knjievno delo trajne
vrednosti. Time je, posredno, ukazao i na postojanje svojevrsnog kanona u okviru
pomenutog anra, jer, kako Duli Sanders istie, adaptacija ovekoveuje postojanje
kanona, doprinosei njegovom reformulisanju i irenju (Sanders 8). Najzad, najire
gledano a prvenstveno iz ugla sveukupne srpske knjievnosti Peki je zasluan
to se smelo upustio u avanturu pisanja anr-romana, ime je, nudei kao zalog svoj
knjievni ugled, naunoj fantastici u srpskoj knjievnosti podario pravo glasa.
LITERATURA
Berajev, Nikolaj (2002). Smisao istorije, Novo srednjovekovlje, Kraj renesanse.
Prev. Mili Majstorovi. Beograd: Brimo.
Clute, John i Nicholls, Peter, ur. (1995). The Encyclopedia of Science Fiction. New
York: St. Martins Griffin.
Cvijeti, Maja (2007). Pekiev Orvel. Beograd: Plato.
Jovi, Bojan (2006). Raanje anra: Poeci srpske nauno-fantastine knjievnosti.
Beograd: Institut za knjievnost i umetnost.
Llewellyn, Mark (2009). Neo-Victorianism: On the Ethics and Aesthetics of Appropriation. Lit: Literature Interpretation Theory. 20 1-2: 27-44.
Luki, Jasmina (2001). Metaproza: itanje anra. Borislav Peki i postmoderna poetika. Beograd: Stubovi kulture.
Zorica ergovi-Joksimovi
PEKIS ENGLAND: EXAMPLES OF APPROPRIATION
IN THE NOVEL BESNILO [RABIES]
Summary
The paper deals with the problem of appropriation in the novel Besnilo (1983) by
Borislav Peki. In that respect, two forms of appropriation are detected, which are important
not only for Borislav Pekis oeuvre but for Serbian literature as well. The appropriation of
England as the setting led to the appearance of the original Pekis chronotope, while the appropriation of the disaster novel, that is, science fiction genre was a pioneering contribution
to the postwar Serbian mainstream literature.
Key words: anthropology, appropriation, Borislav Peki, Besnilo, England, science
fiction, disaster novel, Serbian literature
140
. XXXV (2010)
Annual Review of the Faculty of Philosophy, Novi Sad. Volume XXXV (2010)
olivraradulovic.ff@gmail.com
UDK 821.163.41.09:2
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Makovi, Magdalena Medari, Dubravka Oraji, Pavao Pavlii. Zagreb:
Zavod za znanost i knjievnost Filozofskog fakulteta
, (2009). . : .
, (1977). . : .
, (1991). , , . : .
Orai-Toli, Dubravka (1990). Teorija citatnosti. Zagreb: Grafiki zavod Hrvatske.
TUK 1989: Tekst u kontekstu. Priredio Novica Mili. Beograd: Institut za knjievnost
iumetnost.
, (1958). . : . .
Pavlovi, Miodrag (1978). Poetika modernog. Beograd: Grafos.
, (1999). . .
, (1994). . : .
, (2001). . .
(1997). . : .
, . (2004). . :
.
, (1985). . : : .
, (1985) . : .
(2002). 1. : .
, (2002). 2. .
, (2003). . : .
, (2003). . : .
20.
151
, (2004). . : .
, (2010). . . :
.
(1997). . : 26. . : .
, (1977). . .
Fraj, Nortrop (1985). Veliki kod(eks). Beograd: Prosveta.
Harington, Vilfrid (1977). Uvod u Bibliju spomen objave. Zagreb: Kranska
sadanjost.
, (1957). . .26/102:129
134.
, (1998). . :
: a.
, ( 2007). . : .
Olivera Radulovi
THE BIBLE IN SUBTEXTS OF THE 20TH CENTURY SERBIAN ESSAY
In essayism of the twentieth century The Bible appears as an impuls to literates
of Christian spirituality, an exemplary Book of Books which influences creative imagination
of Isidora Sekulic, Momcilo Nastasijevic and Miodrag Pavlovic. It appears as a treasury in
thematic, genre, rhetorical, stylistic and typological meaning. Subtexts of commented essays
include The Book of Genesis and the symbolism of creation through words, as well as the
platonistic Gospel of John. The dream of Jewish forefather Jacob and his vision of a ladder
striving toward heaven are an Old Testament illustration. Suggesting the dynamism of Christian spirituality, it appears as a crown metaphor which serves to connect and metaforically
highlight ethical, aesthetic and poetic standpoints.
Key words: text, subtext, context, Christian spirituality, archetypal aesthetics.
152
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despy@eunet.rs
UDK 821.163.41.09-1 .
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press
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Summary
Pavlovis essay on Kostis Santa Maria della Salute covers everything that a proper research on an outstanding poet should cover, from sorting out sound and melody qualities
to literary style analyses, from discerning the structural organization of a work to contemplating its genre properties, from identifying a poems problem levels (subject matter levels) to
comparative observations. With a rare quality of precise and convincing interpretation, the
essay is at the same time firmly grounded in theory and literary history. Although Kostis rich
and complex work/opus does not allow any definite interpretations or conclusions, nor would
Pavlovi, deeply aware of the nature of literature, ever pursue something like that, this essay
conclusively presents new aspects for understanding Santa Maria Della Salute , and, hence,
gives a significant contribution to the misunderstanding from which we still live.
166
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Annual Review of the Faculty of Philosophy, Novi Sad. Volume XXXV (2010)
popovic.virdjinija@gmail.com
.
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168
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171
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Riga Krypto i lapona Enigel (1930)
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(, angelus).
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Dan Barbilian - Ion Barbu,
.
Mandics () Gyrgy
.
,
1977. Ion Barbu, gest
nchis, .
10 , 2001. 2003. ,
.
, , : , , .
, :
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,
,
. , , , , .
,
, , , ... , ,
(Brut 2003: 185). .
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173
( )
( , ). (1571-1630), ,
, , , (Mandics 2003: 9). Uvedenrode ,
(Brut 2003: 185-186)
/ Isarlk. , .
,
(ibidem).
. , , , .
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,
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. . , .
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174
...
175
Petrescu, Ioana Em. (2006). Ion Barbu i poetica postmodernismului. Ediie ngrijit
de Ioana Bot i Ligia Tudorachi. Cluj-Napoca: Editura Casa Crii de tiin.
Philippide, Al. (1930). Ion Barbu: Joc secund. n Adevrul literar i artistic. An X.
Nr. 474. 5 ianuarie.
Pillat, Dinu (1969). Ion Barbu. Bucureti: Editura Tineretului.
Pillat, Dinu (1982). Ion Barbu. Bucureti: Editura Minerva.
Piru, Alexandru (1969). Ion Barbu, critic i eseist. n Romnia Literar. AN II. Nr.
6 (18). 6 februarie;
Simion, Eugen (1969). Proza lui Ion Barbu. n Romnia Literar. An II. Nr. 23 (35).
5 iunie.
Ulici, Laureniu V. (1971). Recurs. Bucureti: Editura Cartea Romneasc.
Valerian, I. (1927). De vorb cu d-l Ion barbu. n viaa Literar. An I. Nr. 36, 5 februarie.
Virginia Popovi
INFLUENCE OF MATHEMATICAL SYMBOLS IN CREATIONS OF ION BARBU
Summary
Poet Ion Barbu was an experienced mathematician and his way of thinking in abstract mathematic spirit displayed also in his poetry. Ion Barbu claims that in poetry as well as
in geometry exists specific form of symbolism for representing of possible forms of existence.
He sees poetry as prolongation of geometry, so that, remaining a poet, he never left area of
geometric divinity. Through his lyrical expression, poet aspirates towards absolute based in
world of beyond time essences, in space and time without limits, in world very close to geometry. Poet is looking for purified beauty, faced within universe of itself, so that reflexion
turns into refraction, a metamorphosis. Ion Barbu, also known as Dan Barbilian is one of most
important Romanian poets of the past century (1895.-1961.). Barbu tries to define modernism
by connecting it with present time, by projecting reflexion of timelessness within her, trying
to approach the transcendent. Poet literally refuses way of comprehension of modernization of
poetry, as an application of various technics and new formal processes, semantically reorienting definition of modern in term of accumulation of new experiences and knowledges making
comprehension of modern world easier.
Key-words: modernism, poetry, mathematics, hermetism, parnasianism
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Annual Review of the Faculty of Philosophy, Novi Sad. Volume XXXV (2010)
Jarmila Hodoliov
hodolic@sbb.rs
UDK 821.162.4(497.11).09-93
Originalni nauni rad
178
Jarmila Hodoliov
Poda vzoru inch pokrokovch osvietenskch snaivcov Juraj Ribay (17541812) preloil z neminy a maariny zdravoun knioky Pravidla moresnosti
aneb zdvoilost, jako i opatrnosti a zachovn zdrav, mldei a tem, kte toho jete
potebuj, obtovan (1795) a Katechizmus o zdrav pro obecn lid a kolskou mlde
(1795). Obidve prce patria medzi pozoruhodn prekladatesk diela a mali udovchovn charakter. Obe adresoval kolskej mldei a obecnmu lidu. V oboch
napomhal spoloenskej vchove, spoloenskmu sprvaniu a zdravotnej vchove.
Jedinou knihou osvietenskej fzy nrodnho obrodenia, ktor mala beletristick charakter, bola zbierka verov Juraja Rohoa (1773-1831) Kratochviln
zpvy pro mlde rolnckou (napsan roku 1802, publikovan roku 1829). Idylickmi obrazmi kreslil ivot sedliackeho udu. S to zva ponky na udov piese.
Roho chcel dospievajcej mldei poskytn nhradu za udov tanie verami
s ronckou tematikou.
V 30. rokoch 19. storoia kolsk literatru, resp. literatru pre mlde, psal aj Michal Godra (1801-1874). Jeho literrne inkovanie sa prejavilo v asopise
Konfesionlna kola (1871-1873). Uverejnil tam jedens bsn pre deti. Niektor
z nich sa nachdzaj aj v knioke Mal renk od Frantika Matzenauera.
Jozef Maliak (1854-1945) psobil v Iloku, kde vydval asopis Domcnos
a kola (19111914) a jeden rok mal otvoren skromn dievensk kolu. V 80. rokoch 19.storoia bolo mdne, ale aj nanajv praktick vydvanie Reovaniek, ktor mali sli aj kolskm deom, aj mldei. Maliak vydal dva zvzky Reovaniek
pre dospelejiu mlde (1902), v ktorch predstavil kompletn trovsk bsnick
generciu a niektorch predstaviteov realizmu. Tto zbierka plnila aj lohu vlastenecko-nrodn a suplovala nedostatok intencionlnej literatry pre deti a mlde.
V 60. rokoch 19. storoia sa poksil psa drmu Jozef Podhradsk (18231915), ale plne osamotene, lebo dovtedy zujem o tento ner neexistoval. V jeho
tvorbe pre dospelch ako aj pre deti a mlde maj prevahu prvky filozofick, nboensk a nrodn. Hranice medzi prozaickou literatrou pre mlde a medzi literatrou pre ud, na rozdiel od predchdzajcich obdob, sa uho stieraj. V asopisoch
Slvik a Zornika uverejoval divadielka pre dietky, v ktorch pokrauje v intencich romantickej literatry v moraliztorsko-nboenskom tne. Viera v Boha a dobr
skutky hrdinu s uho vdy odmenen. Podhradskho divadeln hry pre deti a mlde uverejnen v Slviku a Zornike v 60. a 70. rokoch 19.storoia sa hrvali v detskch ochotnckych divadlch na Slovensku a vo vojvodinskom prostred.
V intencich realizmu psali aj al predstavitelia detskej tvorby, najm
vak Albert Marti (1855-1918) a Jn ajak. Na rozdiel od Podhradskho v ich prcach u nie s do takej miery prtomn romantick motvy lokalizovan aj do exotickch krajov, ale charakterizuje ich prklon k domcemu prostrediu (najm u Martia),
m tto prza nadobda charakter regionlneho variantu. Marti, povolanm uite,
vo svojich poviedkach pre deti udriaval kontinuitu so starm obdobm preberanm
prbehov i postv zo starieho obdobia, ako s naprklad siroty, straten deti, chudob-
180
Jarmila Hodoliov
spoloensko-politickmi medznkmi, z ktorch najvznamnej bol rok 1945 predstavujci rozhraniujci predel v literatre pre deti.
Po vojne, hoci nie bezprostredne po jej skonen, nastva v rokoch 50. a
vrazne v rokoch 60. intenzvny rozvoj literatry pre deti vojvodinskch Slovkov.V
tomto obdob sa zvila aj knin produkcia a literatra pre deti zskva irie autorsk zzemie akujc aj vydavateskm projektom zo strany ttu.
Juhoslovansk dejiny a nrodnooslobodzovac boj juhoslovanskch nrodov
zanechali v ivote juhoslovanskch nrodov a nrodnostnch menn hlbie stopy
ako v inch krajinch, o sa prejavilo aj v literatre pre deti. Rok ukonenia druhej
svetovej vojny je teda dleitm medznkom vo vvinovom procese tejto literatry. Detsk literatra sa zaala ubera cestami premien, a to akceptovanm aktulnej
tematiky z nrodnooslobodzovacieho boja, socialistickej vstavby a socilnej tematiky, ktor vrazne odrala didaktick ideologizmus. V klasickej predvojnovej umeleckej podobe literatra ani nemohla pokraova.
Vvin slovenskej novodobej literatry je spt s mimoliterrnymi faktormi.
Plat to pre literatru pre dospelch, ale aj pre literatru pre deti. Historick udalosti,
najm koniec druhej svetovej vojny, povaujeme v slovenskej vojvodinskej literatre
pre deti za zsadn zlom, a preto aj v literatre pre deti a mlde tento rok chpame
ako vznamn periodizan predel.
Literatra pre deti, ktor sa psala pred druhou svetovou vojnou, bola poznaen najprv socilnou problematikou a potom poiadavkou vychovva deti v
kresanskom duchu.
LITERATRA V ZNAMEN SPOMIENOK
NA NRODNOOSLOBODZOVAC BOJ A POHAD DO NOVCH DN
Obdobie hadania umeleckho vrazu na vyjadrenie novej ideovosti trvalo
pomerne dlho. Bezprostredne po osloboden vstpila do literatry pre deti nov autorsk genercia sformovan socialistickou ideolgiou. Prv povojnov roky s novou
protifaisticky orientovanou literatrou, spoiatku reprezentovanou poziou pre dospelch, potom aj przou, charakterizuj aj literatru pre deti.
Tematika odboja sa zjavovala najm na stranch asopisu pre deti Nai pionieri od roku 1947, priom treba kontatova, e tto tematika bola rovnako zastpen v pozii a v prze. Prv povojnov kniha pre deti u ns bola kniha bsn Zlatka
Kltika V boji a pokoji. Sbierka pionierskych bsniiek (Petrovec: Matica slovensk,
1946, 76 s.). Kritika zo znmych spoloensko-politickch prin neregistrovala tto
knihu ako povojnov prvotinu a Zlatko Kltik bol pol storoia vytren z literatry
vojvodinskch Slovkov. Kniha m dva cykly: prv pod nzvom V boji... a druh pod
nzvom ... a pokoji. Prv cyklus je oslava hrdinskch skutkov malch partiznov,
niektor z nich aj padli v boji. V epickch veroch druhho cyklu hlavn postavy s
tie deti, ale u v novej spolonosti ako pionieri, iaci, arvanci, ktor maj problmy
182
Jarmila Hodoliov
van Jovanovi Zmaj, Gustav Krklec, Desanka Maksimoviov, Jure Katelan, Mira
Alekoviov) a prce spisovateov zo Slovenska, ktor sa zameriavali na tematiku
nrodnooslobodzovacieho boja.
Tematiku nrodnooslobodzovacieho boja potvrdzuje aj prv kniha, ktor vyla v 60. rokoch Po boku otcov (1961). Obsahuje preklady srbskch, macednskych,
bosnianskych, chorvtskych a slovinskych poviedok z nrodnooslobodzovacieho boja
o detskch hrdinoch, ktor po boku svojich otcov a starch druhov vstpili do radov
osloboditeskch vojsk. Na vydanie ju pripravil Pavel Muaji a Samuel Miklovic.
Na povojnov knin vydanie prz pre deti naich autorov sa akalo trns
rokov, ke vyla zbierka poviedok Jna Kopoka Deti z naej ulice (1959) a kniha
Juraja Tuiaka O bielom jeleovi (1961). Medzi prozaick diela povojnovej literatry
patria iastone aj knihy Neodovzdan odkaz (1960) a Zzran puka (1963) Zlatka
Kltika, ktor sa presahoval na Slovensko a ktor vyli tie na Slovensku. Je v nich
spracovan tematika nrodnooslobodzovacieho boja na zemiach bvalej Juhoslvie.
Ak ide o tmu alebo originlnos, ani knika O bielom jeleovi (1961) Juraja
Tuiaka, ktor m spomienkov charakter, nesignalizovala ako celok vstup do novej
vvinovej etapy. Predsa vak dve krtke przy z tejto knihy (O zlatej koze, Afrikni)
z dnenho zornho uhla a z literrnohistorickho aspektu s vchodiskov v rozvoji
chlapenskej przy v novom nedidaktickom humoristickom podan. Mono ich preto
prvom oznai za zaiatok modernej przy a Juraja Tuiaka za modernho autora
u v 60. rokoch. Aj napriek tomu, e kniha O bielom jeleovi vyla na zaiatku 60.
rokov, zatia o nasledujca u plne modern a o desa rokov neskr (Maximilin v meste, 1971), Juraj Tuiak patr svojou tvorbou do 70. rokov ako priekopnk
modernej sasnej literatry pre deti a doposial je najplodnejm spisovateom pre
deti vojvodinskch Slovkov. Spomienkov charakter poviedok v knihe O bielom
jeleovi vbec nie je ruivm prvkom v procese uchopovania ich estetickch kvalt
a keby v nich nebolo dobovch reli, mohli by sme ich povaova za sasn przy.
V podstate boli novtorsk ete pred tvorbou Michala Babinku, lene neobsahovali
vetky prvky, ktor by im prisdili charakter modernej przy u v 60. rokoch.
POZIA
nrov skladba pozie v 60. rokoch spova v detskej prrodnej lyrike, verovanej rozprvke a riekanke.
Muajiho prtulnos k rodnej hrudi, k domovine, sa prejavila v jeho zbierke
bsn Svie slnieko veselo (1961). Novotou tejto zbierky s vodn vlasteneck
prleitostn bsne, ktor iaria lskou k vlasti, k matke a reaguje aj na sasn udalosti vo svete, napr. spolucti s alrskymi demi v boji proti franczskym koloniztorom. Obracia sa k deom priamo, akoby ich robil astnkmi deja. V tejto zbierke s
niektor prbehy umelo vykontruovan. Charakteristick pre tvorbu Pavla Muajiho
v 60. rokoch je jeho vzah k prrode, ktorm pestuje aj v deoch dvern vzah voi
184
Jarmila Hodoliov
dodenn veci, ktor pozoruje okom dieaa a ktor maj svoj vlastn ivot (Ceruzka,
Sane, Kukurica, Vlak). Vzhadom na zbierku Za priehr radosti zbierka Jednoduch
slov predstavuje vrazn pokrok: zatia o v prvej autor aktualizoval svet zvieraz,
prrodnch javov a det prevane deskriprvnou metdou, v druhej je to metaforizcia vrazu a reflexia. Tto zbierka m v celej Tuiakovej tvorbe pre deti medznkov
postavenie.
PRZA
Jn Kopok (1929-1933) ako prv siahol po tematike nrodnooslobodzovacieho boja. Z vojnovch rokov erp tematiku aj jeho p poviedok v prvej povojnovej zbierke prz Deti z naej ulice (1959). Jadrom tchto poviedok s mal a
neskuton hrdinsk skutky det a preto sa pri ich tan vytrca pocit pravdivosti.
V takejto preexponovanosti urobi z malch chlapcov vekch hrdinov Kopokova
prza strca na flexibilnosti a nadobda charakter ablnovitej, strnulej, neohybnej a
stereotypnej aktulno-dobovej literatry, ktor sa v tch asoch psala aj na Slovensku aj v Juhoslvii. Jednm z nedostatkov Kopokovch prz je, e ide o mimoriadne
krtke literrne tvary s nabitou dynamickou fabulou, nhlym preruenm deja a s
jeho neakanm ukonenm.
Hrdinstvu svojich protagonistov dva Kopok preexponovan podobu. Ich
skutky nemaj presvediv motivciu, s vsledkom naprojektovanej schmy. Aj
napriek hyperbolizcii detskho inu v prvch piatich krtkych przach kniha bola
dstojnm vstupom mladej genercie na nov literrnu scnu. Aj napriek niektorm
nedostatkom kniha vak v intencionlnej literatre manifestuje vstup novej literrnej
genercie do novej vvinovej etapy slovenskej vojvodinskej przy pre deti.
Prv kniha poviedok O bielom jeleovi (1961) Juraja Tuiaka vyla u o dva
roky po prvej povojnovej knihe poviedok Deti z naej ulice (1959) od Jna Kopoka.
Prv Tuiakova kniha nebola ete tuiakovsk a dokonal. Spolu osem poviedok
predstavuje konglomert socilnych, dobrodrunch a sentimentlnych motvov. Retrogrdne prvky preberal Tuiak z Kopokovej knihy najm vtedy, ke sa nemohol
vyhn spomienkam na vojnu, ako naprklad v poviedke O bielom jeleovi, ktor
symbolicky predstavuje snvan astie. Tuiak neopisuje vojnov udalosti, iba asovo umiestuje dej do vojnovch rokov. Okrem vojnovch reminiscenci Tuiak vojnov hrzy a skutky svojich hrdinov nedva do svisu s vojnou. Akoby iba pocioval
nutnos spomenu dobu, v ktorej preil smutn detstvo it bez otca bez ohadu, e
takto odboenia nevplvaj na dej. Po vojne to detstvo ilo o ndennckom chlebe
a prispelo, aby mlad hrdina vaie dospel a videl socilne rozdiely na dedine. Cez
chronologick kompozciu Tuiak dozrievanie svojich hrdinov podva od obdobia
poiatonho formovania sa detskej psychiky v rodinnom prostred cez poznvanie
zloitch udskch a spoloenskch vzahov a po vahy o udskej nespravodlivosti, uvedomenia si svojho miesta v spolonosti a nakoniec v hadan lepieho ivota
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Jarmila Hodoliov
Jeho hrdinovia s zva pozitvni, nejestvuj medzi nimi nrodn nepriatelia. Tba
po slobode, lska a nenvis s dominantn faktory a iba po ich uskutonen, alebo
neuskutonen, sa dostva na povrch rados a smtok. Kltik svoje postavy kresl s
neskrytmi sympatiami, m rd aj ich hrub zovajok. Predovetkm maj dobr a
citliv srdce a lsku, ktor sa prejavuje najm k matke a tvor ich najvie bohatstvo.
Kltik nevyzdvihuje skutky svojich hrdinov do vin neskutona, ani z nich nerob
neskutonch hrdinov. Aj v knihe Tulk a akanka (1978) sa prbeh odohrva v ase
druhej svetovej vojny v Juhoslvii. Tulk-syn odchdza do hr k partiznom, kde si
berie aj svoje husle. Stretva tu baka Zorana, v skutonosti chorvtskeho bsnika
Vladimra Nazora a spolu tvoria kultrnu brigdu. V Kltikovej spomienkovej prze
sa prelnaj dve lnie: rozprvanie syna-Tulka a matky-akanky. Mnoh postavy a
veci s skryt v symboloch a sm obsach je v niektorch elementoch rozprvkov a
romantizujci (matka akanka ak cel ivot doma svojho syna a na svojich cestch
syn-Tulk vdy nachdza v prrode akanku). Pri opisoch partiznskeho ivota, ale aj
vlasteneckch citov, sa autor prejavuje ako realistick spisovate. Kltik v nej tlmo
svoj humanistick odkaz, odpor proti vojne a nsiliu. V porovnan s Kopokovou
povojnovou tvorbou, u ktorho zostala viditen snaha vytvori postavu hyperbolizovanho pozitvneho hrdinu a demi ako hlavnmi postavami, ktor s kurirmi,
bojovnkmi, sirotami, nositemi boja v prehnanej forme, Kltikove przy s u aj
tm, e s autobiografick, stvrnen ovea relnejie a psobia pravdivejie.
LITERATRA
Kopl, Jn (1984): Literatra pre deti v procese. Bratislava: Mlad let
Noge, Jlius (1988): Literatra v literatre. Bratislava: Mlad let.
Sliacky, Ondrej (2007a): Dejiny slovenskej literatry pre deti a mlde do roku 1960.
Bratislava: Literrne informan centrum .
Sliacky, Ondrej (2005b): Slovnk slovenskch spisovateov pre deti a mlde.Bratislava: Literrne informan centrum.
Jarmila Hodoliov
Jarmila Hodoliov
HISTORY OF SLOVAK LITERATURE FOR CHILDREN
AND ADOLESCENTS IN VOJVODINA UP TO 1970
Summary
The paper for first time shows history of Slovak literature for children and adolescents (poetry and prose) in Vojvodina of 18 centuries up to 1970. At the beginning of the
creation of literature for children and adolescents in the 18th century works was translated
from Hungarian and German languages. After that period writers which emerged were written
intentional literature for children: Jozef Podhradsky, Jan ajak, Samuel inurak
The first post-war collection of poems for children In battle and in Peace (1946)
Zlatka Klatika like the first collection of short stories of the Peoples Liberation War Children
from our street (1959) Jna Kopoka was written in the memory of the Peoples Liberation
War.
The following period is the 60th when writers more write poetry and when appear a
new generation of authors with the first signs of modern literature for children: Juraj Tuiak,
Michal Babinka, Pavel Muaji and others.
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Adam Svetlk
svetlika@ptt.rs
UDK 821.162.4(497.11)-95(091)
Originalni nauni rad
190
Adam Svetlk
Jeden z prvch takch textov bol text Ivana Majeru Re je o naej literrnej kritike (Majera,1951). Neskorie
sa o zmapovanie literrnokritickej situcie v literatre vojvodinskch Slovkov poksil aj Samuel eman
v texte Budeme ma raz aj literrnu kritiku? (eman, 1973), no najplnej a najrozpracovanej pohad na
tto problematiku podal Michal Harp v texte Sradnice naej literrnej kritiky (Harp, 1977). Najnovie
o typologizciu literrnej kritiky vojvodinskch Slovkov sa poksil Miroslav Dudok v texte K principom
jazyka kritiky (Dudok, 2004).
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Adam Svetlk
V 50. rokoch Michal Filip uverejnil v Novom ivote tyry prspevky: tri literrnohistorick tdie a pozoruhodn recenziu zbierky Andreja Ferka Okovan krv.
Jeden z najvznamnejch takch textov, prznanho pomenovania Nae sily, vyiel v Novom ivote roku
1957. (Kme, 1957b)
Zaiatkom 70. rokov 20. storoia, teraz vak vyprovokovan Kmeovm tanm pozie vtedy mladho
bsnika Vazoslava Hronca, Babinka reaguje dvoma polemicky vrazne vyhrotenmi textami Pro et contra
(Babinka, 1972a) a Pro et contra II (Babinka, 1972b), v ktorch Kmea otvoreno obviuje pre danovizmus
v prstupe k slovenskej vojvodinskej literatre. Bola to svojrzna kulmincia tohto sporu dvoch silnch literrnych osobnost, lebo jeho alie pokraovanie bolo preruen Babinkovou chorobou a onedlho aj jeho
194
Adam Svetlk
smrou (1974). Avak ovea produktvnejia v tomto ohade bola Harpova indirektn polemika s Kmeom. V texte Bsnick relcie Michala Babinku Harp apeloval za nov prstup k tejto a takejto pozie:
Domnievam sa preto, e by bolo zaujmav urobi trukturalistick analzu, ani nie natoko samotnch bsn Michala Babinku, nakoko jeho tvorivho procesu. (Harp, 1968b) Teraz u vieme, e toto predsavzatie
Harp neskorie aj spene realizoval, ponajprv v niekokch parcilnych rozboroch Babinkovej pozie
( Nadrealistick metafora Michala Babinku, Interpretcia bsne Michala Babinku Hlasujem za hriech I a
Smantick podmienenos pevnej bsnickej formy) a neskorie aj komplexne v monografii Pozia a poetika
Michala Babinku, a tmto spsobom vlastne najinnejie spochybnil Kmeovu tzu o nezrozumitenosti
Babinkovej pozie.
Ako prv polemicky intonovan text v Novom ivote mono povaova lnok Andreja ipkra Za nov
sily v naom literrnom podnikan (ipkr, 1954) kde tento vtedy zanajci autor obhajuje prvo mladch
spisovateov na pesimistick videnie skutonosti. Redakn odpove na tento text bola sce polemicky, no
predsa vo vekej miere kompromisne koncipovan.
196
Adam Svetlk
198
Adam Svetlk
eman, Samuel (1973). Budeme ma raz aj literrnu kritiku? Nov ivot, 25, .2,
s.174.
ikr, Andrej (1954). Za nov sily v naom literrnom podnikan. Nov ivot, 6, .4,
s.257.
Dudok, Miroslav (2004). K principom jazyka kritiky. Nov ivot, 56, .11-12, s.639.
Filip, Michal (1952). Gustav Marall Petrovsk. Nov ivot, 4, .1, s.1.
Harp, Michal. (1967a). Problmy naej prozaickej tvorby. Nov ivot, 19, .1-2,
s.57.
Harp, Michal (1968b). Bsnick relcie Michala Babinku. Nov ivot, 20, .2.
s.152.
Harp, Michal (1977c). Sradnice naej literrnej kritiky. Nov ivot, 29, .1, s.11.
Hronec, Vazoslav (1967). Poezia 66. Nov ivot, 19, .1-2, s.49.
Kme, Jn (1952a). Martin Kukun. Nov ivot, 4. .3, s.126.
Kme, Jn. (1957b). Nae sily. Nov ivot, 9, .1-2, s.272.
Kme, Jn (1960c). M. Babinka: Bezbon let. Nov ivot, 12, .2-3, s.163.
Labth, Jn (1965). O najnovch bsach Viery Benkovej Popitovej. Nov ivot,
17, .3, s.194.
Majera, Ivan (1951). Re je o naej literrnej kritike. Nov ivot, 3, .3, s.193.
Adam Svetlik
PROMENE KNJIEVNE KRITIKE VOJVOANSKIH SLOVAKA
U ASOPISU NOVI IVOT
Saetak
U radu je dat pregled promena knjievnokritikog stvaralatva vojvoanskih Slovaka u drugoj polovini 20. veka. Ove promene su praene na stranicama Novog ivota, najznaajnijeg knjievnog asopisa vojvoanskih Slovaka, pri emu su naroito detaljno analizirani
prelomni momenti u njihovom knjievnom stvaralatvu, koji su imali presudan uticaj i na
kritiku recepciju ove knjievnosti. U textu se naglaava veliki znaaj, koji su za knjievnu
kritiku vojvoanskih Slovaka imale jake stvaralake linosti, pre svih Jan Kme, Mihal Harpanj i Viazoslav Hronjec, koji su svojim knjievnokritikim radom u velikoj meri obeleili,
ali i usmerili celokupno knjievnokritiko stvaralatvo vojvoanskih Slovaka.
Kljune rei: knjievna kritika, slovaka vojvoanska knjievnost, knjievni asopis, ideologija, nauni karakter, stvaralaki karakter, promene, jake stvaralake linosti.
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Miroslav Dudok
miroslav.dudok@gmail.com
Martin Kukun priiel ako lekr dr. Matej Bencr do Seliec na ostrove Bra 6. janura 1894 a zostal tu do 2.
jna 1907 (Nieti 1957).
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Miroslav Dudok
kontexte: jeho dielo pretrvva po sasnos na vratkej estetickej a itateskej amplitde tradinosti a modernosti.
Dielo Martina Kukuna vak nezaujalo a nezaujma iba literrnych vedcov,
divadelnkov, filmovch scenristov, ale dnes u aj jazykovedcov, etnolgov a mohlo
by aj sociolgov, filozofov trhovej ekonmie a inak vyprofilovanch autorov, ktor
nemaj strach pred itateom v sebe. Ak som naznail i ist vkyvy v postojoch na
Kukunov jazyk, tak to svis s exojazykovou situciou sloveniny, hlavne vak s
preskriptvnou jazykovou filozofiou. Naprklad po diele Martina Kukuna ako literrnej a jazykovej studnici najastejie siahali slovensk lexikografi. No iba po
Slovnk slovenskho jazyka (I. diel 1959. VI. diel 1968). Po zmenenej literrnej i literrnovednej, ako aj jazykovej i jazykovednej paradigme, jazyk a vrazov prostriedky M. Kukuna znova oslovuj. Paradoxne vak nie vaka verne odkreslenmu
(povedan Eugenom Paulinym) udovmu i hovorovmu jazyku , ale intertextovm
odkazom na epick aj skuton priestor. Ak v obdob hadania, ale vemi asto i urovania, estetickch, jazykovch a inch istt Kukunov jazykov potencil asom
slabol, tak sksenosti a miesta kultrnych spomienok, naprklad juhoamerickch a
inonrodnch literatr, u Kukuna anticipuj a oivuj intertextov a interlingvlne
zdroje sasnho literrneho diskurzu.
Literrne dielo M. Kukuna v minulosti tie bolo predmetom neraz aj jazykovednch, tylistickch a textologickch rozborov (Hork 1957, Pauliny 1940,
1946, pretla 1983, Prdavkov-Minrikov 1972 ai.)2, nehovoriac u o tom, e
takmer v pravidelnch intervaloch sa striedala literrnovedn a literrnokritick optika na M. Kukuna v slovenskej literatre (Mrz 19563, Noge 1962, epan 1972
ai.). Napriek tomu, e tri tvrtiny literrneho diela M. Kukuna je ukotven v neslovenskom kultrnom priestore, slovensk jazykovedci a Kukunov textolgovia
s s interlingvlnymi a interkultrnymi reliami zaoberali iba okrajovo. Pritom pre
jazykovedca aj tto jeho zloka pouvania jazykovch prostriedkov v literrnom
texte predstavuje vrazn inpiran zdroje, hlavne z aspektu ekolgie jazykov a v
neposlednom rade aj zo stanoviska jazykovho manamentu. To o pre sasn slovensk literrne texty od Vilikovskho stredoerpskeho literrneho diskurzu alebo
indickho Jna Litvka po dneok je mono samozrejmosou, ke ide o funkn
vyuvanie exotizmov a podobnch reli, musel M. Kukun riei svojsky, resp.
vytvoril si vlastn akceptovaten textick model, ktor nadvzoval len na skutonos, aj ke sa t skutonos dobovmu slovenskmu itateovi neraz zdala by
neskutonou, fiktvnou.
Poukeme to konkrtnejie na prklade poviedok a cestopisov, ktor patria
do jeho braskho literrneho diskurzu, ale podobn bohat materil poskytuje aj
2
3
Naprklad k stmu vroiu od narodenia vyiel vo vydavatestve Slovenskej akadmie vied osobitn zvzok
Jazykovednch tdi, venovan jazyku a dielu Martina Kukuna (Jazykovedn tdie V, 1960).
Sta Skice o literrnom diele Martina Kukuna A. Mrz pvodne napsal v rozpt rokov 1950-1955 ako tri
prleitostn texty.
J. ajak ml. v knihe Miscellanea spomna: ia, nepamtm sa na rok, ale bolo to za letnho rna asi roku
1926. Na Kanl sme prili prv, ako to bvalo otcovm zvykom. Rd mal erstv a nezamten vodu. Nejak cudzinec u plval, zamral sa, zrejme mu dobre padlo osvieenie. Kee sa neprihovoril, nu, veru ani
otec, ani ja sme sa neptali, e kto je, odkia priiel. Neskorie sa otec dozvedel, e to bol Martin Kukun. U
Bonskch spal. Inkognito si pozrel Petrovec a odiiel, nenechal po sebe iadnu stopu. (ajak 1982, s.121)
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Miroslav Dudok
knihy Pospolitej itrne v Starej Pazove z 12.februra 19245, ke zrejme okrem inho skmal i monos zaloi si tu lekrsku ordinciu.
V poviedkach z braskho prostredia princp kontrastu pvodnho domova a novho domova, na ktorom stavia obraznos textu, nie je vak iba prejavom
literrnosti textu. Martin Kukun sa v poviedkach s braskou tematikou prejavuje
ako Oravan, aj ke s to texty prepikovan v prvom rade lexiklnymi, ale i syntaktickmi a frazeologickmi kroatizmami. Tieto jeho texty nestavaj iba na zrejmch
biografmach a postave lekra ako priameho astnka fabulcie, i lekra-rozprvaa, (hoci na tom asto stavia, napr. tedr de), ale vo vrazovej zloke je to takmer
vdy oravsk videnie sveta, slovensk obraz mimojazykovej a literrnej skutonosti.
Kognitvny priestor braskch poviedok M.Kukuna vychdza neraz nie z pohadu
ostrovana, ale z pohadu vntrozemskch sksenost, Stredoeurpana i Slovka, z
pohadu loveka z hr (O. epan). Zrove s to intertextov uzly, ktor nadvzuj a spletaj jasenovsk ni do braskho rozprvania.
More nebolo pust a przdne, ale ako obrovsk lka a na nej rozden biele
husi. (Parnk).
Pribehol bez kabta, prostovlas traja naraz sa prihrnuli k nemu, e
Lukrica, ako padla, tak le. Niet vraj v nej nprstok ivota. Mono vraj,
doloili dosia sa jej vycedili vetky mozgy. Nu letel zachrni aspo
porisko, ak sa u sekera i utopila. (Prv zvada)
Morica je vbec ivo rozumn. Teraz si, naprklad, obzer doktora, saby
mu chcela poveda: lovee, neblaznej anuj sa. ahni si do chldku a
vyspi sa, ako vetci pravovern kresania. Nech psom trva rastie, ke kone
podochn... (Mio II)
Intertextov prepojenie novho, cudzieho a domceho, svojho psob ako
prekvapiv kontrast. Kukunove poviedky z braskho prostredia s pritom priam
popretkvan lexiklnymi odkazmi na Bra a akavinu, ale je to iba ornamentlny
znak loklneho koloritu. U v prvom odseku prvej publikovanej poviedky s dalmatnskou tematikou Prv zvada je viacero interlingvlnych prostriedkov, ktor navonok
signalizuj aksi exotiku.V skutonosti nadvzuje na starie texty z jasenovskho
prostredia a folkloristicko-dokumentrne sonduje nov prostredie. Uvdza ich do
vodzoviek a vzpt vyklad v slovenine. V neskorch poviedkach je kroatizmov
menej a uvdza ich u bez slovenskch ekvivalentov, u sa literrne a ivotne aklimatizoval v novom prostred. Take uvediem prv odsek Prvej zvady:
Naa ,obina, mestsk dom, je budova o jednom poschod, vemi,
vemi jednoduch. Tich a mtva, ete i ,kure, okenice s privret, aby
septembrov slnce, dos horce ete, neprebjalo dnuka. Ale dnuka je dos
5
V publikcii Kukun v kritike a spomienkach . Hurbanov spomna tento Kukunov zpis, avak je znane
redakne upraven. Kvli autentickosti Kukunovho jazyka uvdzame jeho presn znenie: 12/II 924 Mladmu spolku Bratov staro pazovskch praje zdaru a dlhho astnho trvanja a rozkvu Martin Kukun
Citovan poda kninej publikcie E. Paulinyho O jazyku a tle slovenskej przy. Bratislava 1983, s. 44.
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Miroslav Dudok
O akavskch prostriedkoch v diele M. Kukuna vo funkcii vrazov loklneho koloritu pozri Strievi-Kovaevi 1998.
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Miroslav Dudok
nenali sprvny model na pretlmoenie jeho jazyka popretkvanho braskm jazykovm koloritom. akavizmy v kukuinovskej empatii voi svojim realistickm a
relnym miestnym a prozaickm protagonistom v chorvtskych prekladoch, ktor
neraz boli realizovan v braskom nre (pozri Nietiove preklady), asimilovala
jazykov realita: splynuli s benm jazykom a ich estetick informcia sa v znanej
miere redukovala. Zd sa, a do takej miery, e len nepatrne oslovovala chorvtskeho itatea. Njde si Martin Kukun novho, sasnho chorvtskeho prekladatea,
ktor sa nadchne jeho dielom, nezhypnotizovanho jazykom, aby sa im spisovate
po rokoch vrtil v braskej iare, ke u mal strach z odhalenia za ivota10?
Rovnako by sme sa mohli opta, i sa pre hosujci akavsk kd a poetn kompromisn repliky v poviedkach s braskmi motvmi njde nov itatesk
k v slovenine? Asi to u nebude ten pvodn realisticko-etnografick k, skr
kaleidoskopicko-patinizujci, ktor vyvol itatesk smev z odhalenia poznatku
o anticipcii vedomch deformanch vrazovch postupov ako alibi pre poetnch sasnch prozaikov. Deforman v prpade, keby sa v estetickej sfre jazyka
akceptovala iba jazykov kultra verejnej komunikcie a nie i sksenos jazykovho manamentu, ktor zohaduje hlavne pouvatea jazyka a jeho jazykov a
estetick komformitu. Kukunove poviedky s braskmi motvmi s v modernom
itateskom vedom u zleitosou dejn literatry ako prprava na vie romnov
skladby. S historickm faktom. Dnes nevzbudzuj zujem tak estetick, ako ekologickoliterrny a s vemi dobrm medziliterrnym, sociolingvistickm a etnologickm zdrojom. V kontexte diela realistu Martina Kukuna predstavuj vak dleit
a nezanedbaten fakt.
LITERATRA
AJAK, Jn ml. (1982). Miscellanea. Bratislava: Slovensk spisovate 1982.
EPAN, Oskr (1972). Kukunove epick istoty. Bratislava: Tatran 1972.
DVONOV, Jana (1960). Rozbor etiny v Kukunov povdce Zpisky zo smutnho domu. In: Jazykovedn tdie V, s. 177-198.
FILIPOVI, Rudolf (1986). Teorija jezika u kontaktu. Zagreb: Jugoslavenska akademija znanosti i umjetnosti.
HABOVTIAKOV, Katarna (1960). Chorvtske jazykov prvky v Kukunovej
dalmatnskej tvorbe. In: Jazykovedn tdie V, s.199-222.
HORK, Gejza (1957). Charakterizan prvky v Kukunovej rei. In: Martin Kukun v kritike a spomienkach. Bratislava, s. 320-359.
JERI, Stanko (1985). Martin Kukuin (1860-1928). In: Braka crkva 17, s. 7.
10
20. storoia, prel. B. Nieti) a krtky (sedemstranov) ryvok z cestopisu (Rjeka Rohi-Zagreb, Maruli
XI, 1978 prel. Geno Senei).
M. Kukun ako vemi obben lekr sa, poda korepondencie a svedectiev, vemi obval, aby sa v jeho
realistickch literrnych textoch nespoznali ich chorvtski protagonisti.
Miroslav Dudok
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oblast istorije knjievnosti kao priprema za vee prozne tekstove, romane Dom v strni i Ma
vol. Predstavljaju istorijsku injenicu. Danas vie ne pobuuju toliko interesovanje estetskog
karaktera, ve su vie vrlo dobar ekolokoknjievni, a posobno meuknjievni, socioloki i
etnoloki izvor. Meutim, u kontekstu dela realiste Martina Kukuina predstavljaju nazaobilaznu injenicu
Kljune rei: akavizmi, intertekstualna sredstva, kontrast biveg i novog doma,
kompromisna replika, prevod.
Miroslav Dudok
INTERLINGUAL AND INTERTEXTUAL MEANS
IN THE WORK OF MARTIN KUKUIN
Summary
One of the most important Slovak realistic writers Martin Kukuin (1860-1926) was
writing his works outside Slovakia for a greater part of his life. The text deals mainly with his
short fiction from within the Croatian island of Bra, where he served (1894-1907) as a local
doctor in Selce. Thanks to the fact that he applied a realistic folk principle in his work, the
stories from that period (published Prv zvada, Svadba, Parnk, tedr de, Baldo & Comp.,
Mio II and Z lovcovch zpiskov and from manuscript estate Syn vtenka, Rodina, Zdruha
and Deti), a novel Dom v strni and travelogues V Dalmcii a na iernej Hore and RijekaRohi-Zhreb are characterized by numerous interlingual and intertextual documents. In this
paper we first analyze this aspect of his work, but we also think of the aesthetic function of
nonslovak facts in his short prose. Kukuins stories with the motifs of the island of Bra in
modern readership awareness are a matter of the history of literature as a preparation for his
larger novels Dom v strni and Ma vol. They are historic facts. Today, they do not give such
a great rise to an aesthetic interest, as to an ecological and literary interest, and they are very
good interliterary, sociolinguistic and ethnological sources. However, in the context of the
realist Martin Kukuin, they are important and noticeable facts.
Keywords: cakavian, intertextual means, the contrast of the original and new home,
a replica of a compromise, translation
. XXXV (2010)
Annual Review of the Faculty of Philosophy, Novi Sad. Volume XXXV (2010)
Tvrtko Pri
tprcic@EUnet.rs
UDK 811.111:378.147
Originalni nauni rad
1. INTRODUCTION
This paper has been prompted by a female student of the authors, who, at
his course in Contact Linguistics, recently asked in class: Only you tell us what is
good in language and what is not, the other teachers only describe things. Why is this
so?. Why indeed?, the teacher replied, Ive been teaching like this for more
than 20 years. And here is why this has been so.
According to one view, strongly advocated by the author/teacher, to know a
language means, firstly, to know the choices it offers for expressing meanings and,
secondly, to know how to make appropriate choices from among those available,
including the ability to distinguish more acceptable options from less acceptable and
unacceptable ones. These kinds of knowledge apply to native and non-native users
alike, and especially to university students of language and linguistics, among them
1
This is an expanded version of the paper, entitled Descriptive or prescriptive approach to teaching language
and linguistics at university level?, presented at the 3rd International Congress of Applied Linguistics (Novi
Sad, October/November 2009). For useful comments and suggestions, I wish to thank the members of the
audience.
212
Tvrtko Pri
214
Tvrtko Pri
to it and modernized prescriptivism and, with slightly more formal and scientific
overtones, neoprescriptivism2 seem to be good candidates.
Modernized prescriptivism should focus on the actual in language, on the
realizations of the system specifically, on what is acceptable on a scale of preferred
less preferred dispreferred possibilities in accordance with the norms of standard
language, especially when there are cases of variation or misuse. Therefore, modernized prescriptivism would be suited for the following aspects of teaching:
theoretical courses in contrastive and contact linguistics, to reduce the effects of negative transfer from L1 at all levels,
as ADVISORY STATEMENTS, offering guidance on uses which are equally acceptable, with formulations along these lines:
(1) for universally preferred uses: two or more choices are equally acceptable, they are in free variation and may differ only by frequency use
them freely but consistently, e.g. angry with or at somebody; burn >
burnt or burned, and
(2) for restrictedly preferred uses: two or more choices are equally acceptable but they are in complementary distribution in terms of form, meaning or style use them carefully and consistently, depending on your
own adopted lect and register, e.g. organize vs organise: the former is
general English, the latter is British only; mouse > mice vs mouses: the
latter is an alternative in the register of computing;
The term neoprescriptivism was suggested by Biljana Mii-Ili during the discussion, which is gratefully
acknowledged here.
in teachers short asides, like these: By the way, the word issue can be pronounced in three ways; or Mark you, the Government has decided... and
the Government have decided... dont mean the same; or Note that there are
no decimal points in Serbian,
in teachers or students questions asked in class, like these: How do you use
fish in the plural?; or Is it Stajnbek or tajnbek in Serbian?; or Whats
the difference between grey and gray?, and
in short thematic research assignments aimed at finding and presenting relevant information, which is provided in print and electronic reference works,
and large electronic corpora, on topics like the differences between British
and American spelling; or the use of titles before personal names and surnames in English; or the plural forms of nouns borrowed from Latin and
Classical Greek; or the similarities and differences in the use of initial capitalization and punctuation marks in standard English and Serbian; or the
ways of agreeing and disagreeing with the interlocutor.
The information necessary for preparing all kinds of recommendations on
usage under discussion can be obtained in modern grammar books and in general-purpose and specialized dictionaries, particularly pedagogical ones. However, attention must be drawn to reference works geared specifically to resolving matters
of usage, like The Cambridge Guide to English Usage (Peters 2004), The American
Heritage Guide to Contemporary Usage and Style (Kleinedler and Spitz 2005), A
Dictionary of Modern English Usage. The Classic First Edition (Fowler 2009) and
British or American English? A Handbook of Word and Grammar Patterns (Algeo
2006). Mention must also be made of similarly designed and equally useful style
216
Tvrtko Pri
guides of publishing houses and news organizations, among which the following
are probably the most widely known and consulted: The Associated Press Stylebook
(Goldstein 2009), The Economist Style Guide (Grimond 2010) and Guardian Style
(Marsh 2010).
And for the usage of Serbian, three reference works are especially helpful
and usable: Pravopis srpskoga jezika prirunik za kole (Peikan, Jerkovi and
Piurica 2004), Srpski jeziki prirunik (Ivi, Klajn, Peikan and Brbori 2004) and
Renik jezikih nedoumica (Klajn 2006).
4. A PROPOSAL FOR AN INTEGRATED APPROACH
TO TEACHING LANGUAGE AND LINGUISTICS
Even though modern linguistics is a descriptive science, teaching language
and linguistics only descriptively is by no means sufficient, because it disregards
important matters of usage and paints only part of the full picture. Likewise, teaching language and linguistics only prescriptively is not sufficient either, as it misses
the language system and thus also paints an incomplete picture. In consequence, if it
is to be comprehensive, efficient and student-friendly, the teaching of language and
linguistics, especially at university level, should be based on a compromise approach,
provisionally called usage-enriched descriptivism, in which descriptive accounts
of the language system would be combined, where and when necessary, with recommendations on the appropriate use of that system. As conceived here, modernized
prescriptivism is seen as a more or less regular complement to descriptivism, where
the latter deals with the theory and practice of the language system, whereas the former helps in resolving matters of usage of that system, as they arise.
Here is an illustration of how this integrated approach would work in practice: to express that one has not understood the speaker, English has the following
frequent formulas: Eh?, What?, Sorry?, Im sorry?, Excuse me?, Pardon?, I beg your
pardon?, Whats that?, Come again!, Say again!. In dealing with this set of formulas, a descriptivist-only approach would provide just the inventory of the available
resources and their uses, while a usage-enriched descriptivist approach would also
offer guidance on how each of the formulas should appropriately be used in various
situations and what associations and implications one is likely to convey with each of
them. In this way, a full picture, capturing both the system and the usage, would be
painted, at the same time catering quite adequately for the students needs to know the
available choices and how to consciously select the acceptable ones.
To put this differently and more graphically, the car metaphor will be used:
parts of the car, what purpose they serve and how they are used would be handled by
descriptivism. And starting the car, getting it in motion and how its parts should, and
should not, be used would be handled by modernized prescriptivism, as a component
of usage-enriched descriptivism.
218
Tvrtko Pri
Peters, P. (2006). English usage: prescription and description. In: B. Aarts and A.
McMahon (eds.). The Handbook of English Linguistics. Oxford: Blackwell
Publishing, 759-780.
Pri, T. (2003). Is English still a foreign language?. The European English Messenger. 12/2: 35-37.
Pri, T. (2004). Rethinking the status of English today: is it still a purely foreign
language?. BAS/British and American Studies. 10: 303-307.
Pri, T. (2005). Engleski u srpskom. [English within Serbian]. Novi Sad: Zmaj.
Pullum, G. K. (2004). Ideology, power, and linguistic theory. Unpublished paper;
available at: http://www.ling.ed.ac.uk/~gpullum/MLA2004.pdf.
Radovanovi, M. (2003). Sociolingvistika. [Sociolinguistics]. 3. izdanje. Sremski
Karlovci, Novi Sad: Izdavaka knjiarnica Zorana Stojanovia.
Radovanovi, M. (2004). Planiranje jezika i drugi spisi. [Language Planning and
Other Papers]. Sremski Karlovci, Novi Sad: Izdavaka knjiarnica Zorana
Stojanovia.
Robins, R. H. (1989). General Linguistics. An Introductory Survey. 4th edition. London and New York: Longman.
Trask, R. L. (2007). Language and Linguistics. The Key Concepts. 2nd edition. Edited by P. Stockwell. Abingdon and New York: Routledge.
Tvrtko Pri
DESKRIPTIVIZAM ILI PRESKRIPTIVIZAM U NASTAVI JEZIKA
I LINGVISTIKE NA UNIVERZITETSKOM NIVOU?
Rezime
U ovom radu, prvo su sagledana dva opta pristupa nastavi jezika i lingvistike na univerzitskom nivou: deskriptivizam, koji se bavi opisima jezikog sistema, i preskriptivizam, koji
se bavi preporukama o upotrebi jezikog sistema. U drugom delu rada, ponuena su dva predloga: jedan za novu i redefinisanu koncepciju preskriptivizma, pod nazivom osavremenjeni
preskriptivizam, zajedno s nekolikim metodolokim uputstvima za njegovu konkretnu primenu
u nastavnom procesu, naroito engleskog kao odomaenog stranog jezika, dok se drugi tie
objedinjenog pristupa nastavi jezika i lingvistike, pod nazivom deskriptivizam dopunjen upotrebom, koji kombinuje deskriptivizam s elementima osavremenjenog preskriptivizma.
Kljune rei: deskriptivizam, preskriptivizam, nastava, jezik, lingvistika, osavremenjeni preskriptivizam, deskriptivizam dopunjen upotrebom
. XXXV (2010)
Annual Review of the Faculty of Philosophy, Novi Sad. Volume XXXV (2010)
Aleksandar Kavgi
kavgic@ff.uns.ac.rs
UDK 811.111362:070.449
811.163.41362:070.449
Originalni nauni rad
1. INTRODUCTION
The goals of the research presented in this paper were set in two separate
theoretical planes. Firstly, from the point of view of corpus linguistics, the goal was
to develop a time- and resource-efficient methodology of compiling a corpus based
entirely on transient web resources2 and to prove that such a corpus is theoretically
relevant. Secondly, from the point of view of pragmatics and discourse analysis, the
goal was to determine whether American and Serbian online sellers use the same
strategies of describing the condition of their merchandise.
1
This is an expanded version of the presentation, entitled Pragmatic Strategies of Describing Merchandise
Condition in English and Serbian Classified Ads A Corpus-based Investigation (presented at the International Conference Encounter of Cultures in December 2009).
The term transient here refers to all types of web-based textual resources that, once published, do not
remain static, but can be changed or even deleted over a shorter or longer period of time, e.g. blogs, web auctions, web-based classified ads, etc.
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Aleksandar Kavgi
The term static here refers to all types of web-based textual resources that, once published, do not ever
change, e.g. current or archived newspaper articles, online books, forum posts, etc.
The term live here refers to all types of web-based textual resources that are used for live, real-time online
communication, such as chat rooms, instant messaging, etc. This sort of web content is inherently extremely
short-lived, as it is normally not stored in any form of a retrieval system (e.g. a database, log, etc.)
For example, a 2009 conference organized by the University of Giessen, Germany, on the topic of News,
(New) Media, and Corpora where the authors were asked to submit papers on topics that look at blogs,
podcasts, vodcasts, and video sharing from a corpus-linguistic perspective. The Linguist List post 20.3941,
Calls: Text/Corpus Ling/Germany.
According to Simpson (2001), there are two basic pragmatic strategies in advertising and therefore there are
two basic types of advertisements: reason advertisements are those which suggest a motive or reason for
purchase, whereas tickle advertisements are those which appeal to humour, emotion and mood.
221
sources as corpus data, but in such a manner that the given methodology can be utilized
by an individual researcher. Therefore, the fundamental methodological premise was to
use freely available sources of text materials and to use readily available software tools.
2. CORPUS COMPOSITION
After analyzing a number of potential sources, it was decided that the best
possible sources of ads were www.halooglasi.com, for Serbian classified ads, and
www.sandiegosuperads.com, for English ads. The selection criteria included: the
number of classified ads, the number of ad categories, the frequency at which ads
were added and updated, the number of paid-for banners, the Google page rank of the
given page and the overall (subjective) look and feel of the site.
The source of English ads was chosen so as to closely correspond in the size
of its target audience to the source of Serbian ads, which was done by comparing the
latest census data. This was done in order to achieve the maximum corpus representativeness (as defined in McEnery 2004: 77-81). Namely, it can be assumed that a parallel corpus will provide valid insights only if it contains a nearly equivalent number
of samples from populations that are nearly identical in size and their sociological
properties (e.g. urban vs. rural, hierarchical structure of the society, number and type
of social strata, etc.) and only differ in geographical location and the language that
they use. That is also the reason why the source of Serbian ads was chosen first: since
the number of Serbian sites with online ads is much smaller than the number of such
sites in English, it was easier to find a corresponding source of English ads for an
already chosen source of Serbian ads than to do it the other way around.
The source of English ads was the content of www.sandiegosuperads.com
from October 20, 2009, and the source of Serbian ads was the content of www.
halooglasi.com from October 5, 2009. The websites were compiled into a corpus in
several stages using a number of different programs7.
7
The most important, initial, mechanical step in corpus compilation using transient web resources is text
collection, i.e. the process of downloading, encoding and storing ads for the purpose of their inclusion in the
corpus. In this research, MetaProducts Offline Explorer Enterprise was chosen for this purpose, because of
its features, speed and reliability (http://www.metaproducts.com). The second stage of corpus compilation
text extraction and encoding proved to be extremely challenging in the case of transient web resources
as corpus materials. Namely, as static HTML content has been largely superseded by dynamic content in the
form of ASP, PHP and JSP generated pages, the usable text material in each dynamic web page constitutes
just a fraction of the total size of the page (measured in bytes), because the page contains a huge amount of
non-text program code used to format the page. For example, an ASP page for an ad containing 54 words
(297 characters with spaces) is 71,944 bytes in size, although the size of the usable text content is merely
596 bytes. Consequently, all downloaded files were batch-processed in order to extract pure text data. Total
HTML Converter was used for this purpose (http://www.coolutils.com/TotalHTMLConverter). After that,
a java script was written to delete all non-ad text material, such as navigation words (e.g. back) and copyright notices. For this purpose, UltraEdit text editor was used (http://www.ultraedit.com/), because it can run
custom java scripts. Finally, all individual files, i.e. ads, were merged into just one large file for each category
in order to make data manipulation easier. This was done in TXTcollector, a freeware program available at
http://bluefive.pair.com/txtcollector.htm.
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Aleksandar Kavgi
3. CORPUS ANALYSIS: PRAGMATIC STRATEGIES OF DESCRIBING
MERCHANDISE CONDITION IN ENGLISH AND SERBIAN
Music
ads
Pet
ads
TOTAL
English
3254
140
1373
14899
Serbian
3430
366
505
10750
15051
Table 1: The number of English and Serbian ads in each analyzed category
However, it was a detailed analysis of concordances9 and their respective
collocations10 that revealed an important difference in the general pragmatic strategy
used by speakers of American English and speakers of Serbian in terms of describing
the condition of their merchandise, which was one of the primary theoretical goals
of this research project. However, the observed difference was not the difference
that was initially expected. Namely, the Serbian ads on the whole contained almost
no sellers comments on the condition of the merchandise and instead focused on
listing concisely the specific features of the merchandise. The English ads, on the
other hand, usually contain both sellers comments on the general condition of the
merchandise, as well as concise listings of specific features of the merchandise, but,
as it shall be shown, this depends on the type of merchandise.
8
10
Real estate ads contain advertisements in which houses, apartments, holiday villas, garages and lots are offered for sale. Automotive ads contain advertisements in which used cars, trucks and trailers are offered for
sale. The category of music ads contains advertisements in which used musical instruments and studio equipment are offered for sale. Advertisements in the category of pet ads contain advertisements in which dogs,
cats, parrots and various exotic animals, such as snakes, are offered either for sale or adoption.
Here, the term concordance is used in the sense of a KWIC (Key Word In Context) visual representation of
linguistic data. In other words, concordance is a method of displaying a particular word being analyzed so
that each token of the target word is placed in the middle of a line of text, with the remainder of the line filled
with its preceding and following context (Malmkjaer 2002: 89-90). In this research, the program Concordance was used for this purpose (http://www.concordancesoftware.co.uk).
The term collocation is here used in the statistically oriented approach (as defined in Nesselhauf 2004: 1112), i.e. in the sense of co-occurrences of words that are frequent, or, more precisely, that are more frequent
than could be expected if words combined randomly in a language. Collocations were also analyzed using
the program Concordance.
223
In the following subsections, advertisements from each category will be analyzed in terms of the pragmatic strategies used by speakers of English and speaker of
Serbian to describe merchandise condition. The analysis is based on the frequency
(i.e. the number of occurrences) of nouns, adjectives, adverbs and phrases which
describe the condition of merchandise. In this research such expressions are called
merchandise-describing expressions.
The terms English advertisement and Serbian advertisement are not used in
the geographical sense of the premodifying adjective, but in the linguistic sense, i.e.
they mean advertisements in English and advertisements in Serbian, respectively.
English advertisements are actually written in the American variety of the English
language and this fact is made clear when the noun advertiser is used in the text, because it is always premodified by American (i.e. American advertisers vs. Serbian
advertisers).
3.1. Advertisements selling cars
The differences in pragmatic strategies employed by speakers of English
and speakers of Serbian mentioned in the previous section are best exemplified by
automotive ads. A typical English automotive classified ad has the following form
and content:
2006 Volkswagen Mkv Gti White on black (cloth fanel interior),16k miles,
perfect condition, 33mpg. A beast! Base model. $7000 8XX-XXX-XXXX
Steven.
On the other hand, a typical Serbian automotive classified ad runs in the following
manner:
OPEL Omega 2.0 benzin karavan (1992), servo, CB, alufelne, vlasnik,
petokrake, kuka, 1.550 EUR. 06X/XXX-XXXX.
Even a very general analysis reveals that the Serbian advertiser is following a concise, formal, almost bureaucratic pattern in formulating their ad and treats their merchandise as if it were new: the advertiser is listing general features of the car that are
not necessarily present in the base model of the car (e.g. the trailer hitch, central locking, pentagram-shaped aluminum rims, power steering, etc.), but which, with a possible exception of the rims, were probably already fitted as factory options to the car
when it was new. There is not even a hint as to the current condition of the car (e.g. its
mileage, mpg rating, color, etc.). The only, indirect, indication of it can be found in its
price, but without actually seeing the car a potential buyer cannot know whether the
price tag reflects the state of the chassis, the mileage, mpg rating of the engine, condition of the interior or something else. In contrast, the American advertiser focuses on
features that truly reflect the condition of the car: perfect condition,16k miles,a
beast,33 mpg,cloth fanel interior (probably flannel). All information supplied
by the Serbian advertiser are actually contained in a single phrase in the English ad-
224
Aleksandar Kavgi
vertisement: Base model. This implies that the car has no aluminum rims, no trailer
hitch, etc. The American advertiser leaves no questions open to the potential buyer.
Naturally, there are some Serbian advertisers who do mention the condition of their
cars, as well as American advertisers who do not, but they constitute a minority.
This observation, however, is not based on an impressionistic assessment,
but on quantifiable data (Table 2). All Serbian words and phrases from automotive
ads that could refer to the condition of the car (e.g. odlian (excellent), dobar
(good), solidan (rather good), treba ulaganje (corrective maintenance required),
etc.) were counted in the concordance program and their total frequency was divided
by the number of ads in the automotive category. The same statistical analysis was
conducted in the corresponding part of the English corpus, the only difference being that the procedure was inherently easier to perform because American speakers
mostly use Adj+N combinations, where the N-element is most frequently condition,
to describe merchandise condition and do not often use predicative adjectives such as
good, perfect, etc. In order to quantify English condition-describing expressions,
the frequency of the following words was analyzed: condition, mpg, mileage
and miles. The actual number of condition-describing expressions in English ads
is much bigger, as it also includes NPs of the type: great car, very nice family station wagon, etc. For the sake of simplicity, these expressions were not quantified,
because, as can be seen in Table 2, even a quantitative analysis of these four words
clearly shows that American advertisers follow a completely different pragmatic adwriting pattern.
Automotive ads
Condition-describing
expressions
RATIO/PERCENTAGE
English
3254
4395
1.3506 / 135.06%
Serbian
3430
283
0.0825 / 8.25%
225
the advertiser is least likely to flout the maxims of quantity and relation, whereas it
is also logical to expect that the maxim of quality will be somewhat flouted because
advertisers will try to present their merchandise as being in a better condition than it
really is. However, this research shows that this is not the case. Serbian advertisers
obviously flout the maxim of quantity contrary to the Gricean cooperative principle
(Grice 1975: 22-40) and contrary even to common sense because, by omitting key
pieces of information (e.g. mileage, mpg and condition), they make their contributions not informative enough for their communicative purpose of selling their merchandise. The maxim of relation is flouted to a lesser extent, as their contributions are
marginally relevant. Namely, having in mind the purpose of the exchange, Serbian
advertisers seem to be using a sort of self-destructive back-firing pragmatic strategy
which forces the reader to ask (i.e. call) in order to get the key information missing
from the ad. The only logical explanation for this phenomenon could be that this is
exactly what Serbian advertisers placing automotive ads want to achieve: to initiate spoken communication over the phone in order to get a spoken opportunity to
persuade a potential buyer to buy their car. However, this strategy seems to be inherently flawed, since it is not very likely that the reader will have enough time and/or
patience to call all advertisers in order to get the missing information when there are
a great number of advertisers selling the same model (e.g. a VW Golf.).
3.2. Advertisements selling real-estate
The analysis of real-estate ads showed that the trend which is most obvious in automotive ads is also observable in real-estate ads, but to a lesser degree.
The exception to this trend in Serbian ads is a culturally/socially-conditioned term
uknjien (registered property) (2255 occurrences), whose automotive counterparts
either do not exist (legalan (legal), 0 occurrences) or are not significantly frequent in
Serbian automotive ads (sa papirima (with ownership documents), 4 occurrences).
Nonetheless, expressions denoting the condition of the flat are still conspicuously absent. Real-estate advertisements in English, however, are again more informative, although not as informative as automotive ones. Two typical examples are given below.
3 Bedrooms 1.5 Bathrooms 1122 sqft Single family house. A nice place to
live. Easy access, near Walmart. Year built 1989. Direct inquries to Matt
Glover 8XX-XXX-XXXX. Offered at 695,000.
UKARIKA padina, Mladena Mitia, , 3.0, 84m2+2L, V/7, CG, lift,
uknjien, salanski, useljiv, 125.000 EUR. 06X/XXX-XXXX
The most obvious indicator of the condition of the merchandise is the phrase
year built, and, to a lesser extent phrases of the type a nice place to live. Additionally, the English advertisement also contains a short, but informative, list of important
features of the neighborhood (easy access and near Walmart), which is also frequent in other English advertisements, but is never given in Serbian advertisements.
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Aleksandar Kavgi
Condition-describing
expressions
RATIO/PERCENTAGE
English
1392
712
0.5114 / 51.14%
Serbian
10750
165
0.0153 / 1.53%
227
Condition-describing
expressions
RATIO/PERCENTAGE
English
140
124
0.8857 / 88.57%
Serbian
366
22
0.0601 / 6.01%
228
Aleksandar Kavgi
Condition-describing
expressions
RATIO/PERCENTAGE
English
1373
1428
1.04005 / 104.01%
Serbian
505
276
0.54653 / 54.65%
Table 5: The ratio of the number of non-emotionally-colored condition-describing words and the total number of pet-related ads in Serbian and English.
Pet ads
Condition-describing
expressions
RATIO/PERCENTAGE
English
1373
1475
1.074 / 107.43%
Serbian
505
0.0039 / 0.39%
Table 6: The ratio of the number of emotionally-colored condition-describing words and the total number of pet-related ads in Serbian and English.
Although Table 5 may be interpreted as a counter-argument which casts a
shadow on the theoretical conclusions formulated in section 3.1. and further exemplified in 3.2. and 3.3, they, however, have to be interpreted with the definition of the
word pet in mind: a domestic or tamed animal or bird kept for companionship or
pleasure.11 In that respect, it is normal to expect that a classified ad should contain
some information on the given animals characteristics that would make it a good
companion, i.e. a good pet. From that perspective, it becomes clear that it is Table 6
11
229
that reflects true nature of pragmatic strategies used in writing pet ads, i.e. whether
advertisers describe or they do not describe relevant characteristics (i.e. condition) of
pets. Consequently, it becomes obvious that ads within the category of pets represent
an extreme example of differences in pragmatic strategies used by speakers of American English and speakers of Serbian in formulating their ads.
4. CONCLUSIONS
A quantitative analysis of condition-describing expressions in four categories of English and Serbian classified ads has revealed that the initial hypothesis that
there are differences in pragmatic strategies of describing merchandise condition between speakers of American English and speakers of Serbian was correct.
The fundamental difference is Serbian speakers flouting of the Gricean
maxims of quantity and relation. This is realized by omitting key pieces of information for each of the analyzed categories of ads: automotive, real-estate, music and pet
ads. The missing key pieces of information in Serbian ads are those which clearly
define the condition of the merchandise being sold: mileage, mpg-rating and working
order in case of automotive ads, build-year and facilities available in the neighborhood in case of real-estate ads, the age, general condition and working order of musical instruments in case of music ads, and, finally, in case of pet ads, the characteristics
which make the animal being sold a good pet.
It is not clear what the exact reasons are why Serbian speakers, contrary to
their communicative goal of selling the merchandise, contrary to English-speaking
advertisers, and contrary even to common sense, almost unanimously omit to specify
the condition of their merchandise. The only logical explanation is that key pieces
of information are purposefully omitted in order to initiate spoken communication
over the phone. However, if that really is the case, it becomes unclear why Englishspeaking advertisers do not use the same strategy.
At the end, it has to be stressed that this paper presents only a pilot research.
The observed differences turned out to be so marked and so fundamental that they
did not provide enough material for some other pre-planned steps of the research,
e.g. to conduct a contrastive analysis of adverbial collocates of attributes describing
merchandise condition in American English and in Serbian and to classify them according to the degree of their respective intensifying or down-toning effect.
The question whether the observed difference stems from cultural differences or it stems from a different perception of reality is either a question for sociologists or linguists specialized in philosophy of language, respectively, and represents
a possibly rewarding topic for future research.
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Aleksandar Kavgi
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Aleksandar Kavgi
PRAGMATIKE STRATEGIJE OPISIVANJA STANJA ROBE U MALIM OGLASIMA
NA ENGLEKSOM I SPRSKOM JEZIKU
Saetak
U studiji malog obima opisanoj u ovom radu istrauju se, iz kontrastivne perspektive, pragmatike strategije prodavaca u malim oglasima koje se tiu opisa stanja robe. U
radu su identifikovani pragmatiki postupci opisa stanja robe specifini za srpski i engleski,
pre emu se pre svega misli na atribute koje se koriste za opis stanja nekretnina, automobila,
muzike opreme i kunih ljubimaca. Istraivanje je obavljeno na paralelnom korpusu sastavljenom od oko trideset hiljada malih oglasa. Kvantitativnom analizom korpusa zakljueno je
da srpski oglasivai, za razliku od amerikih oglasivaa, naruavaju maksime informativnosti
i relevantnosti, jer uopte ne navode stanje robe koju prodaju. Ne postoji jasno objanjenje
zato srpski oglasivai primenjuju ovu kontraproduktivnu pragmatiku strategiju i odgovor na
to pitanje bie potraen u buduim istraivanjima.
232
. XXXV (2010)
Annual Review of the Faculty of Philosophy, Novi Sad. Volume XXXV (2010)
Dragana Drobnjak
dashayuyu@yahoo.fr
Sneana Guduri
sguduric@neobee.net
UDK 811.133.137:811.131.1
37:811.163.4137
Originalni nauni rad
234
Nous basons notre tude sur, avant tout, les significations primordiales des
lexmes, et non toutes leurs significations possibles dans une langue donne. Si nous
traitons plusieurs valeurs smantiques, cest que ces significations sont de frquence
gale dans lusage quotidien.
Beaucoup de lexmes, provenant des langues classiques et existant dans une
forme crite identique ou semblable dans les trois langues cites, ainsi que dans la plupart des langues europennes, gardent les mmes significations. Cest, par exemple,
le cas avec des mots comme attentat/attentato/atentat ( tentative criminelle contre
une personne, surtout dans un contexte politique ) ou protocolaire/protocollare/protokolaran ( relatif au protocole ).
Dautre part, un certain nombre de mots concidant dans une signification
dans toutes les trois langues cites, peuvent dvelopper des significations particulires dans lune delles, comme cest le cas avec le mot binaire/binario/binaran,
qui, en tant quadjectif, a la mme signification dans les trois langues ( qui est form
de deux lments ou qui comporte deux aspects ), mais, en tant que nom issu de
ladjectif respectif en italien, il dveloppe une nouvelle signification nexistant ni en
franais ni en serbe (voie/kolosek).
Il arrive par ailleurs que les significations identiques existent dans les trois
langues. Nous citerons ici lexemple de opra/opera/opera ( ouvrage dramatique
mis en musique, compos de rcitatifs, dairs, de churs et parfois de danses avec
accompagnement dorchestre ; genre musical constitu par ces ouvrages ;
thtre o lon joue ces sortes douvrages ), mais que, en mme temps, dans lune
des langues, dans ce cas litalien, pour des raisons historiques et tymologiques, le
sens primordial de ltymon latin (lat. opus, operis) sest aussi conserv, ce qui nest
pas le cas dans les deux autres langues (fr. uvre, travail, ser. delo, rad).
Il est intressant de noter que le mot franais uvre (f.) est issu directement
du mot latin opera (plur. de opus, operis, nom du genre neutre1) et a subi des modifications phontiques et morphologiques, tandis que le mot franais opra (m.) est
emprunt directement litalien et a obtenu le genre masculin par analogie avec la
plupart des noms se terminant en -a (agenda, bermuda, bta...) qui sont du genre
masculin en franais. Le serbe a emprunt le mot opera litalien, tout en conservant
le genre de la langue-source.
Dans notre corpus, nous avons not plusieurs types de (non-)correspondances smantiques des significations dans les trois langues.
1) Le premier type comprend une quivalence smantique entre le franais
et le serbe, tandis que la signification italienne se voit diffrente.
1
Il faut noter que les noms latins du genre neutre sont en gnral passs, en franais et en italien, au genre
masculin. Mais ceux, dont la forme du pluriel (en -a) tait plus frquente que la forme du singulier, se comportaient comme des noms du genre fminin et sont passs dans les deux langues romanes cites comme des
noms du genre fminin (p.ex. lat. folium n.n. > folia > fr. feuille, it. foglia f. (nom collectif); lat. arma n.pl. >
fr. arme f, it. arma f.).
235
Tel est le cas des verbes franais atterrir et serbe aterirati ( se poser
terre ; fam. arriver finalement ), tandis que la forme graphique correspondante
italienne (atterrire) se prsente comme un faux ami smantique ayant pour signification fr. terrifier, terroriser / ser. prestraiti, prestraviti. Le lexme correspondant
italien du franais atterrir et du serbe aterirati est atterrare.
Les noms franais diplomate et serbe diplomat(a) montrent une double quivalence smantique: 1) personne officiellement charge de reprsenter son pays auprs dun gouvernement tranger ou dans les affaires internationales; 2) personne
qui sait mener une affaire, des ngociations, avec tact et habilet. Le nom italien
diplomato a un sens compltement diffrent dans les deux autres langues fr. celui qui possde un diplme un diplm , ser. diplomirani + nom dsignant la
profession (juriste, ingnieur...). Le lexme italien correspondant aux noms franais
diplomate et serbe diplomata est diplomatico.
Dans les exemples suivants on a constat la correspondance smantique
dune seule signification du mot polysmique franais avec le mot serbe, sans aucune
correspondance avec la forme respective italienne. Tels sont les noms franais avance
(f.) / ser. avans (m.)2 / it. avanzo (m.); fr. souvenir (m.) / ser. suvenir (m.) / it.
sovvenire (v.) que nous allons reprsenter dans les tableaux ci-dessous:
fr. avance n.f.
Le mot serbe est pass dans la catgorie des noms du genre masculin tant donn quil se termine par une
consonne ce qui est, en gnral, la marque du masculin en serbe.
236
it. sovvenire v.
237
laine, chiffon, drap / ser. vunena tkanina, krpa, arav), le mot correspondant italien est pannello ;
b) fr. ragot / ser. ragu ( plat compos de morceaux de viande (buf, veau,
mouton) et de lgumes cuits ensemble, avec une sauce ) it. rag (fr.
sauce base de viande hache et de tomates / sos od paradajza sa mlevenim mesom), le correspondant smantique italien des mots franais et serbe
ragot/ragu est pezzatino;
c) fr. buste / ser. bista ( reprsentation, le plus souvent sculpte, de la tte et
de la partie suprieure du torse ) it. busta (fr. enveloppe, serviette, tui /
ser. koverta, kesa, navlaka, futrola), le correspondant smantique italien des
mots franais et serbe buste/bista est busto.
d) Le cas suivant est particulirement intressant, vu que les mots serbe et franais sont emprunts litalien, mais ni lun ni lautre nont conserv la signification du mot italien.
fr. cantine n.f.
tablissement o lon
sert manger, boire
aux personnes dune
collectivit
coffre de voyage, malle
rudimentaire (en bois,
mtal)
pice
souterraine
o lon produit et
conserve le vin
magasin o lon
vend/consomme le
vin
Le correspondant smantique italien du mot franais cantine et du mot serbe
kantina est mensa, le lexme italien cantina ayant la signification cave, dbit de boissons en franais et podrum, prodavnica vina, vinoteka en serbe.
Notons ici que le serbe utilise indiffremment les mots kantina et menza,
ayant le mme sens et emprunts tous les deux litalien, mais lun avec le sens original de litalien (mensa) et lautre avec le sens pris du mot franais (cantine).
2) Dans le corpus nous avons trouv quelques exemples de correspondances smantiques entre les lexmes italiens et serbes, tandis que le lexme franais
correspondant du point de vue graphique et phontique, possde une signification
diffrente. En voil quelques-uns:
238
marchandise
Le lexme italien roba a une signification aujourdhui dsute qui correspond au lexme franais robe, mais comme nous nous sommes bornes aux significations actuelles, cette dernire nest pas prsente dans le tableau.
3) Dans notre corpus, nous avons trouv un exemple de correspondance dite
croise. Il sagit du nom fr. confettis / it. confetti / ser. konfeti (ou konfete), au pluriel.
Ce cas est particulirement intressant tant donn que le franais et le serbe ont
emprunt le lexme en question l`italien, mais avec une signification diffrente de
celle de la langue-source. Dune part, les lexmes franais et serbe ont une signification commune (obtenue par un procd dlargissement du sens) qui nexiste pas
en italien et dautre part, les lexmes serbe et italien ont une autre signification en
commun, qui nexiste pas en franais. Il faut tout de mme noter que cette dernire si-
239
drages de sucre caramlis, aux amandes ou noisettes, distribues au mariage, baptme, premire
communion, etc.
friandises, sucreries
prparation pharmaceutique sucer, forme
dun comprim enrob de
gomme, de sucre
friandises,
(vieilli)
sucreries
4) Le mot franais caramel reprsente un cas tout fait particulier dans notre
corpus. Il est pass en italien sous la forme du fminin (caramella) et en serbe sous double
forme, fminine et masculine (karamel/karamela). Litalien possde encore une forme du
mme mot, mais venue, cette fois-ci, directement de lespagnol et qui est du genre masculin (caramello). Il est noter que lorigine de la forme franaise remonte aussi lespagnol caramel(o), forme qui, en fait, vient du portugais. On suppose que la forme initiale
tire son origine du bas latin calamellus qui est un diminutif de calamus (fr. canne, roseau).
fr. caramel n.m.
couleur caramel
couleur caramel
couleur caramel
240
4
5
Quelques dictionnaires serbes notent la forme poltrona avec le mme sens quen italien (fauteuil, fotelja).
Cest ltymologie note par P. Skok et I. Klajn et elle nous parat plus vraisemblable que celle donne par
les dictionnaires de Matica srpska ou de SANU, qui notent lorigine latine du mot. Il est peu probable que ce
mot soit venu directement du latin.
241
nourriture dlicieuse
fam. ce qui cause un
grand plaisir
cadeau
casier, tagre
grande armoire faite en
parties dcomposables
Paralllement avec les formes nominales, le franais et litalien possdent
des formes adjectivales : fr. rgale / it. regale, qui, elles aussi, ont des significations compltement diffrentes, quoique venant de la mme source latine (rex, regis
rois > regalis royal ). Tandis que ladjectif franais semploie uniquement
au genre fminin, et cela dans le syntagme eau rgale ( mlange dacide chlorhydrique et dacide nitrique qui a la proprit de dissoudre lor et le platine ), la forme
italienne est dun usage beaucoup plus tendu conservant, dun ct, le mme sens
que son tymon, et llargissant, de lautre, vers le sens de magnifique et solennel.
Alors, le lexme franais rgal trouve son quivalent smantique dans les
mots italiens delizia, leccornia, piacere et dans les mots serbes uivanje, omiljeno
jelo, zadovoljstvo. Les correspondants du mot italien regalo sont le mot franais cadeau et le mot serbe poklon.
Dans cet article nous navons prsent que quelques exemples illustratifs
faisant partie dun corpus comprenant une centaine dexemples, la plupart pouvant
tre classs parmi les europismes ou internationalismes, mais dont les significations
principales diffrent dans deux ou mme dans toutes les trois langues cites. Nous
avons pu constater que les correspondances smantiques sont les plus frquentes entre les lexmes franais et serbes, moins frquentes entre les lexmes italiens et serbe
et le moins frquentes entre les lexmes franais et italiens qui nont t notes que
dans les cas des correspondances dites croises. Cependant, il faut souligner que le
critre de formation de notre corpus sous-entendait uniquement les lexmes montrant
une ressemblance graphique et/ou acoustique dans les trois langues.
OUVRAGES CONSULTS :
De Mauro, T., Manici, M. (2000). Dizionario etimologico. Milano: Garzanti.
Divkovi, M. (1980). Latinsko-hrvatski rjenik (reprint izdanje). Zagreb: ITRO Naprijed.
Klajn, I., ipka., M. (2006). Veliki renik stranih rei i izraza. Novi Sad: Prometej.
242
Le nouveau Petit Robert, Dictionnaire alphabtique et analogique de la langue franaise (2009). Paris: Robert.
Nikoli, Miroslav i dr. (2008). Renik srpskoga jezika. Novi Sad: Matica srpska.
Ray, Alain (2000). Dictionnaire historique de la langue franaise. Paris: Dictionnaires Le Robert.
Renik srpskoga jezika (2007). Novi Sad: Matica srpska.
Renik srpskohrvatskog narodnog i knjievnog jezika SANU (1959-2009). Beograd:
SANU.
Skok, P. (1971-1974). Etimologijski rjenik hrvatskoga ili srpskoga jezika I-IV. Zagreb.
Spalatin, Krsto (1990). Peterojezini rjenik europeizama. Zagreb: Nakladni zavod
Matice hrvatske.
Trsor de la langue franaise (1971). Paris: CNRS.
Vujaklija, Milan (2004). Leksikon stranih rei i izraza. Beograd: Prosveta.
Zingarelli, Nicola (2005). Il nuovo Zingarelli. Vocabolario della lingua italiana. Bologna: Zanichelli.
Dragana Drobnjak
Sneana Guduri
SOME SEMANTIC INTERFERENCES BETWEEN
FRENCH, ITALIAN AND SERBIAN LANGUAGES
Summary
The paper deals with several cases of semantic interferences in oral or written communication between two Romance (French and Italian) and one Slavic (Serbian) language.
The authors describe a part of the corpus containing about 100 lexemes (words) which could
be mostly classified as Europeisms, internationalisms, but also as false friends since we established that in the case of the largest number of excerpted units there is no complete overlap
in the meaning in all three languages. We established that semantic overlap happens most
frequently with Italian and Serbian lexemes and least frequently with French and Italian lexemes. An important thing to mention is that the corpus was formed according to the criterion
of graphical and/or aural equality or similarity of lexemes in all three analyzed languages.
. XXXV (2010)
Annual Review of the Faculty of Philosophy, Novi Sad. Volume XXXV (2010)
kuresevicmk@sbb.rs
UDK 811.163.1367.635
O /
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, 2006-2010.
. : 2004, Sedlek 1970, Golb
1984.
. . - 2007: 204-230 2009: 8-100, 280-300.
. - (2008:74): -
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. 2004 - 2007: 204-230.
O . . Lehmann 1992: 107-108.
O . . - 2008: 80-81.
. - (2007: 77-97).
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, , . (1984: 171, 179)
(<PIE*de-/*do-), (
*dati *dadj).
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( 14. 15. )
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|| ||.(151r/3-7); ||().
(), || ||() . (160r/7-11); . .
(191v/10-13).
16%
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. (43v/13-44r/2);
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1996: 76-77). 16,3% / .
||() . ||()
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(77v/9-15);
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. (80r/2-5);16 ||.
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1993: 470, 1972: 182-183).
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(Veerka 2002: 49).
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, 31% ( ). ) )
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. (1987: 42-43).
. ii-Ili 1995: 127-134, K
1998: 246-257.
- . :
1962-1963: 1-9.
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(97r/1-5)22
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( 1999: 181).
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: (
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252
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. (33v/12-34r/4); () ()() ||
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||, || || ||().;
(258r/16-258r/3).
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.
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.
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) , || ||.
|| () (11r/ 13-12v/ 2);
|| ,*. . .
. (127v/14-128r/3);27
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. || || . (145r/13-145v/2); .
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. (246v/15-247r/5).
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. , . . ,
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(1985). ( . . ). .
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(1993). [. ], :
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, (2004). , :
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-, (2007). . .
- : .
-, (2007). :
.
. I. 249-266.
-, (2008). .
. 73: 71-83.
, (1970). :
.
. XIII/2: 43-53.
, (1983). . (. 352).
, . : .
256
, (1998). .
: .
, (1930). . :
.
, (1962-1963). , , . . VII: 1-9.
, (1969). .
. : .
, (2009). . . : .
, .. (1991).
XI-XVII . ( ).
: .
, (1963). .
Slavia. XXXIII/3: 384/394.
, X-XI (1999). [ ..
, . . ]. :
.
, . . (1972). . :
.
, . (2004).
. : ,
: .
Bauer, Jaroslav (1972). Syntactica slavica. Vybran prce ze slovansk skladby.
Brno: Universiteta J.E. Purkyn.
Faarlund, Jan Terje (1990). Syntactic Change. Toward a Theory of Historical Syntax.
Berlin-New York: Mouton de Gruyter.
Golb, Zbigniew (1984). South Slavic da+Indicative in Conditional Clauses and its
General Linguistic Implications. Papers for the V. Congress of Southest European Studies. Columbus, Ohio: Slavica Publishers.
Grkovi-Major, asmina (2010). The Role of Syntactic Transitivity in the Development of Slavic Syntactic Structures. Hansen, Bjrn, Jasmina GrkoviMajor (eds.). Diachronic Slavonic Syntax. Gradual Changes in Focus.
Wiener Slawistischer Almanach (Sonderband 74). Mnchen Berlin
Wien. 63-74.
Heine, Bernd and Kuteva, Tania (2007). The Genesis of Grammar. A reconstruction.
Oxford: University Press.
Lehmann, Winfred P. (19923). Historical Linguistics. London and New York: Routledge.
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Lunt, Horace G. (20017). Old Church Slavonic Grammar. Berlin-New York: Moutom
de Gruyter.
Mii-Ili, Biljana (1995). On some focusing advebs. Facta Universitatis. 1/2: 127135.
Polovina, Vesna (1987). Leksiko-semantika kohezija u razgovornom jeziku. Beograd: Filoloki fakultet Beogradskog univerziteta.
Sedlek, Jan (1970). Srpskohrvatske potvrde o razvitku reenica sa da u junim
slovenskim jezicima. Zbornik Matice srpske za filologiju i lingvistiku. XII/2:
59-69.
Veerka, Radoslav (1996). Altkirchenslavische (altbulgarische) Syntax, III: Die S a t z typen: Der einfache Satz. Freiburg: Weiher Verlag.
Veerka, Radoslav (2002). Altkirchenslavische (altbulgarische) Syntax, IV: Die S a t z typen: Der zusammengesetzte Satz. Freiburg: Weiher Verlag.
Veerka, Radoslav (2006). Staroslovntina v kontextu slovanskch jazyk. OlomoucPraha: Univerzita alackho v Olomouci Nakledatelstv Euroslavica.
Marina Kureevi
N THE USAGE OF THE PARTICLE/CONJUNCTION DA
IN THE MEDIEVAL NOVEL SERBIAN ALEXANDRIDA
Summary
This paper deals with the usage of the particle/conjunction da from syntactic, semantic and pragmatic aspect. The research is conducted on the critical edition of the text Serbian
Alexandrida, in which the base presents the transcript from the sixteenth century. The grammatical word da is attested through investigations of Old Serbian texts (from the 12th to the
end of 15th century) in several usages: as a modal particle, optative and emphatical, as a sort of
a paratactic conjunction (so called adjunctive da) and also as a hypotactic conjunction which
could introduce both final and complement clauses. The aim of this paper was to determine
how much of the archaic condition is maintained in this text and how often the particle da is
grammaticalized into hypotactic conjuction.
The results of the research showed that in the analyzed corpus (text) particle da
maintains its archaic usage, while its grammaticalization into hypotactic conjunction is at the
beginning of the process. The relationship of this two usages can be presented by proportion
7,6:1. The complex conjunction jako da is attested in a bit more examples as a hypotactic
conjunction then the simple conjunction da. Both types of finite dependent clauses are found
in the same contexts as nominal forms, infinitives end infinitive constructions, which dominate
258
as a complement of the verbs in this text. The obtained results, although not expected at the
beginning, can be explained in two ways: either as a characteristic of the lower functional style
of Serbian Church Slavonic language, or as a characteristic of the so called `resavski` period
in the history of the Serbian literature.
. XXXV (2010)
Annual Review of the Faculty of Philosophy, Novi Sad. Volume XXXV (2010)
Ana Halas
anahalas@gmail.com
UDK 811.11104]367.625
Originalni nauni rad
1. INTRODUCTION
This paper examines the change in the form of the present and past perfect
in Middle English (ME). Perfect-like structures have their roots in Old English (OE)
as complex structures consisting of an auxiliary verb which was either wesan/bon
(to be) or habban (have) and a past participle form. It is presupposed that it was in
the ME period when the early traces of the future loss of the verb wesan/bon as the
auxiliary of perfect structures1 can be noticed. The focus of the investigation is the
social nature of this language change. The task is to reveal the social conditions under
which this linguistic change took place as well as the social factors which contributed
to the development of the present-day form of the present and past perfect, such as
time, gender, social class and formal/informal register which reflect the nature of the
relationship between participants in communication. The interaction of these speaker
oriented social factors reveals the profile of language change initiators and promoters
who spread a change until it becomes fully accepted within a community.
1
In this paper, the term perfect structure is limited to the present perfect and past perfect in the active form.
260
Ana Halas
2. THE HISTORY OF PERFECT FORMS
The present and past perfect as complex verb phrases were used in OE, the
oldest recorded stage of English. The lexical verb was formally the past participle
while the auxiliary verbs were either habban (to have) or wesan/bon (to be). OE
shaded into ME, the form of the English language that was spoken in the period
from the Norman Conquest in 1066 until William Caxtons introduction of printing
in 1476. However, it is important to remember that the shift from OE to ME was a
gradual one so that certain features of the previous form of English were still present in ME, but with a tendency to be changed. One of those features is the way of
forming the present and past perfect including the use of both auxiliaries depending
on the transitivity of a lexical verb. Namely, perfect structures of intransitive verbs
included wesan/bon as the auxiliary verb and the past participle while the auxiliary
habban added to the past participle formed perfect structures of transitive verbs, as it
is shown in the following examples:
(1) Lekit it ow to wethe Jon off Dam is come to towne and purposit hym to tary here
a day are ij, (William Paston I, to John Stanford, 1425, Paston Letters vol I, 6)
(2) Ye have made full payment to me of the seid C. li. of Estir. (Alice Stonor, 1432-3,
Stonor Letters)
The present perfect form of transitive verbs included the present forms of
the auxiliary habban (hath, rarely has, for the third person singular and have for all
other persons), while the past perfect contained the past form of habban (hadde for
all persons). Intransitive verbs formed the present perfect by using the present forms
of the auxiliary wesan/bon (am/are/is) and the past perfect included the past forms
of the verb wesan/bon (was for the first and third person singular and were for all
other persons).
3. CORPUS ANALYSIS
The corpus includes the Paston and Stonor letters which represent personal
correspondence among the members of the two families and others connected with
them. The Paston letters were written between 1422 and 1509 while the Stonor letters
were written between 1290 and 1483. However, as for the Stonor collection, only the
letters written between 1423 and 1483 were taken into consideration since the others do
not contain any instances of perfect structures so that they are not suitable as a source
of data for this research. Also, these letters provide a solid basis for the comparison
between the uses of perfect structures in the two collections since the period when they
were written overlaps to a large extent with the period which the Paston letters date
back to. The corpus is based on the collections of letters of these two families because
their members occupied different positions in the social hierarchy. Namely, the Pastons
were the members of the upper middle class while the Stonors were the members of
261
gentry. Thus, the letters written by the members of these two families are good examples of two different profiles of language users with different education, social ties,
possessions and, generally, different social backgrounds which could lead to different
language uses. The comparison of the two collections of letters provides a clearer picture of the social origins and initiators of the language change in question.
The detailed research, in which quantitative methodology was applied, consisted of four stages. The initial stage included the overall research of both collections
with the purpose of gaining a general insight into the occurrence of the two auxiliaries within perfect structures as well as the influence of social class as a factor in
the development of present-day perfect structures. In the following stages, the letters
were grouped according to the external factor that was analysed: time, gender, or register. Different groups of letters were, thus, compared, for example, male and female
letters, formal and informal letters, and letters written in different periods. Such an
analysis enabled a deeper insight into the conditions in which this language change
originated i.e. whether the dominance of the auxiliary habban was a characteristic
of a particular style of writing, of the language use by a particular generation, males
or females as well as the way in which the change developed over time. Moreover,
all the mentioned factors were observed in each of the collections separately for the
purpose of examining their influence in two different social contexts based on the
primary factor in this paper the social background.
3.1 The overall analysis
The overall analysis of the corpus has clearly shown that, in ME, the auxiliary habban had a role of the main auxiliary used in perfect structures. It was used
considerably more often than wesan/bon even with intransitive verbs.
The proportion of intransitive verbs used with habban to the total number
of intransitive verbs used in the corpus within perfect constructions is shown in the
following table:
Table 3.1 The proportion of intransitive verbs used with the auxiliary habban
The Pastons
The Stonors
Total n of
intransitive
verbs
N of
intransitive
verbs
used with
habban
Total n of
intransitive
verbs
No of
intransitive
verbs
used with
habban
Percentage
Percentage
Present
Perfect
126
78
61.90%
38
33
86.84%
Past
Perfect
26
24.53%
11
63.63%
262
Ana Halas
The percentages presented in the table above mark the Stonors as the initiators of this linguistic change, at least in the case of the present perfect. In the Stonor
letters, wesan/bon is almost completely lost as an auxiliary used for forming the
present perfect. However, it should also be noticed that in the Paston letters, wesan/
bon is still used with intransitive verbs to a certain extent although habban has already taken over its function to a high degree. As for the past perfect, it is obvious that
this change was developing more slowly than with the present perfect as the research
of the Paston letters shows. Namely, intransitive verbs are rather rarely used with
the auxiliary habban in the Paston letters. On the other hand, as the results show, the
incidence of habban with intransitive verbs within past perfect constructions is rather
high in the Stonor letters, so that it can be concluded that the change in the structure
of the past perfect was more progressive in this collection marking the Stonors as the
initiators of the change in this perfect structure, too. However, the incidence of past
perfect forms of intransitive verbs in this collection is too low to form a solid base for
further generalizations and the conclusion about the leading role of the Stonors can
be regarded as hasty.
3.2 Time factor
The method of apparent time was applied to the investigation of the change
in perfect structures. Namely, the period during which the letters of both collections
relevant for the research in question were written (1420-1509) was divided into several twenty-year subperiods. Also, the letters in both collections were grouped according to the period when they were written. Each group of letters was analysed
separately, so that, by comparing the results obtained in this way i.e. the occurrences
of the auxiliaries habban and wesan/bon, it was possible to gain an insight into the
nature of the change in perfect structures as well as its development and direction
over time.
The results of the research on the development of the change in perfect constructions in the Paston and Stonor letters are presented in the following tables and
charts for both perfect structures separately.
1420-1440
1441-1460
1461-1480
1481-1509
The occurrence
of habban
18
99
258
24
The occurrence
of wesan/bon
11
18
Table 3.2 The occurrences of the auxiliaries of the present perfect in the Paston letters
from 1420 to 1509
263
The occurrence of
habban
The occurrence of
wesan/bon
The table and diagram presenting the change in the present perfect form
based on the research of the Paston letters show that in 1420s (at the beginning of
the period during which the letters were written) the auxiliary habban replaced the
auxiliary wesan/bon in present perfect constructions of intransitive verbs to a great
extent establishing firmly its position of the only auxiliary of perfect forms. At this
time, the change in question was already in progress having been developed to a high
degree. During the first and second subperiod, there was a further constant rise in the
number of the occurrences of habban, so that in the middle of the third subperiod, the
use of habban almost reached the highest rate and this tendency remained constant
throughout the whole period. Thus, it could be claimed that the change reached its
final phase whose end was implied by the complete disappearance of wesan/bon as
the auxiliary of perfect forms.
Table 3.3 The occurrences of the auxiliaries of the past perfect in the Paston letters
from 1420 to 1509
1420-1440
1441-1460
1461-1480
1481-1509
The occurrence
of habban
20
22
The occurrence
of wesan/bon
13
264
Ana Halas
The occurrences of habban and wesan/bon as the auxiliaries
of Past Perfect from 1420 until 1509
120
100
80
60
The occurrence of
wesan/bon
40
20
0
1420-1440
1441-1460
1461-1480
1481-1509
The letters of the first subperiod contain no instances of past perfect constructions, but the members of the Paston family did use this tense in their letters
from the next subperiod. What is more, in the past perfect constructions of this group
of letters, habban was, according to the diagram, more frequently used, but the difference in the incidence between habban and wesan/bon was not very prominent. In
the following subperiods, there was a constant and rapid rise in the incidence of habban which implies a high rate of the change in past perfect structures. This trend continued till the end of the observed period with the result that, in the last subperiod, the
auxiliary wesan/bon completely disappeared as the auxiliary of the past perfect. It
can be said that during the period of about ninety years and over several generations
of speakers, the change in past perfect constructions was completed. The observation
of its development over time reveals its sudden character and a steady rise in the incidence of habban without oscillations, so that the change in question was developing
constantly in the same direction towards the establishment of habban as the only
auxiliary of perfect structures regardless of the transitivity of a verb. It seems that the
change in the form of the past perfect started later than with the present perfect. As
the two diagrams show, at the time when the change in the past perfect form started
to develop and spread, the present perfect had already undergone the change in the
use of the auxiliaries to a high degree, so that it seems that this fact gave an enormous
impetus to the replacement of wesan/bon with habban in past perfect constructions
of intransitive verbs making this change quite dramatic.
The results obtained by researching the collection of the Stonor letters and
presented in the diagrams below are quite similar to the ones previously analysed.
265
Table 3.4 The occurrences of the auxiliaries of the present perfect in the Stonor letters
from 1420 to 1483
1420-1440
1441-1460
1461-1483
The occurrence of
habban
94
The occurrence of
wesan/bon
80
The occurrence of
habban
60
The occurrence of
wesan/beon
40
20
0
1420-1440
1441-1460
1461-1483
As for the present perfect, habban is the only auxiliary used in the first subperiod. In the second half of the second and in the third period, wesan/bon still appears with intransitive verbs, but the number of such instances is rather small, so that
this fact does not jeopardize the dominance of the auxiliary habban over wesan/bon.
The final outcome of the change is known habban becomes the only auxiliary of
perfect structures. Thus, the change can be described as a process in which the initial
period of rapid change is followed by a period of slightly slower change. The last
stage, probably, occurred in Early Modern English when the present perfect got the
form it has in Modern English. However, this is only a supposition which would have
to be supported by further research, but this topic is not in the scope of the current
investigation.
The letters of the Stonor collection written in the first subperiod contain the
examples of past perfect constructions in which the auxiliary wesan/bon is still used
to a considerable extent.
266
Ana Halas
1420-1440
1441-1460
1461-1483
The occurrence of
habban
22
The occurrence of
wesan/bon
Table 3.5 The occurrences of the auxiliaries of the past perfect in the Stonor letters
from 1420 to 1483
The occurrences of habban and wesan/bon as the auxiliaries
of Past Perfect from 1420 until 1483
120
100
80
60
The occurrence of
wesan/beon
40
20
0
1420-1440
1441-1460
1461-1483
As it was the case with the Paston letters, there was a sudden rise in the incidence of the auxiliary habban, so that in the letters from the second subperiod, there
are no occurrences of wesan/bon within past perfect constructions. It is expected
that the results of the research concerning the incidence of the two auxiliaries remain
the same. However, after 1450s, the number of the occurrences of habban decreased
by 8%. Since the outcome of the process of the change in question is known, the tendency previously described in the analysis of the change of the present perfect form
is expected in this case, too.
Summarizing the results obtained by observing the change in perfect constructions over time in the Paston and Stonor letters, it is noticeable that the change
in question has similar tendencies in the two collections, which provides a base for
further generalizations about the auxiliary issue in present and past perfect constructions. It can be concluded that the change in the use of the auxiliaries habban and
wesan/bon began some time before 1420s since, as the diagrams show, at this time
habban had already been used to form present perfect constructions with the majority of verbs i.e. with all transitive verbs and most of intransitive ones. This tendency
remained the same until the end of the period which was probably the final phase of
the change in question leading to the absolute dominance of the auxiliary habban.
267
From 1430s to 1450s, there was a steady rise in the incidence of habban
within past perfect constructions, as both diagrams show, implying that this was the
period when the change in the use of the auxiliaries was the most intensive. After
1450s, the two diagrams show different directions of this change. There is a constant
rise in the incidence of habban in the Paston letters leading to the complete disappearance of wesan/bon while the Stonor letters show a slight decrease in the number
of the occurrences of habban. Such observations imply that, after an initial phase of
rapid change, there was a period of slower development when wesan/bon was still
used with a rather small number of intransitive verbs but with a growing tendency
towards complete disappearance as the auxiliary of past perfect constructions.
3.3 Register
The next issue taken into consideration during the research is the shift in the
usage of the auxiliaries in perfect structures which is associated with particular situations of use formal and informal registers. The presupposition is that there is a difference in the use of a particular language feature depending on the formality of the
situation. For the purpose of examining the influence of the register on the use of the
auxiliaries, the letters were, in both collections, classified into formal and informal
ones. The formal letters include the letters to people other than the family members,
wills, inventories, memoranda, indentures, etc, while the informal ones involve personal correspondence among the members of the two families. The focus is on the
relation between the uses of habban and wesan/bon in formal and informal letters.
Taking into account the examples with both the present and past perfect, the
Paston letters do not display any significant difference in the incidence of the two
auxiliaries regarding formal and informal letters. However, the difference in the use
of the two auxiliaries is more prominent in the case of the formal letters from the
Stonor collection which do not contain a single example in which wesan/bon is used
as the auxiliary of both the present and past perfect. It should, also, be noticed that
the incidence of habban in the Stonor informal letters is considerably bigger than
the incidence of wesan/bon. Thus, the research has shown that the formal register
reflects the higher rate of the shift towards the use of habban with both transitive and
intransitive verbs.
Past
Perfect
100%
100%
Percentage
The
occurrence
of wesan/
beon
0%
0%
Percentage
16
33
The
occurrence
of habban
76.19%
89.19%
Percentage
The
occurrence
of wesan/
beon
23.81%
10.81%
Percentage
3.4 Gender
Gender, together with social class and age, is one of the most widely used social demographic categories, and so
categorizing individuals into females and males has long been standard practice in the social sciences. However, the
As the results show, the investigation on the use of the auxiliaries with perfect forms depending on the register of
the letters is limited only to the Stonor formal letters. These examples clearly imply that the formal-informal distinction
is relevant for this research since formal language usage by the gentry seems to be the one in which the change was more
progressive. This fact leads to another conclusion concerning the change in question. Due to the fact that habban as the
main auxiliary of perfect structures was preferred in a highly formal context i.e. in more careful language use with greater
awareness of the choice of language forms, the change in the use of the auxiliaries in perfect structures shows a characteristic of a change from above or, more precisely, a change taking place above the level of social awareness. The investigation
on the relevance of the formal-informal distinction for the given change has provided a deeper insight into the nature of the
shift towards the total exclusion of wesan/bon as the auxiliary of perfect forms.
75
Present
Perfect
The
occurrence
of habban
Table 3.6 The occurrences of the auxiliaries in perfect structures of formal and informal letters in the Stonor collection
Formal letters and documents
Informal letters
268
Ana Halas
269
examination of the corpus has shown that gender as a social factor is irrelevant for
the research described in this paper due to the insufficient number of female letters
in the Stonor collection for a detailed examination. Moreover, in the Paston collection, there is no significant difference between male and female letters regarding the
distribution of the two auxiliaries.
4. CONCLUSION
The research described in this paper denotes general characteristics of the development of present-day perfect forms. The OE rule for forming the present and past
perfect which involved the use of the auxiliary habban with transitive and wesan/bon
with intransitive verbs showed the early traces of change in ME which led to the loss
of wesan/bon as the auxiliary of perfect forms. The auxiliary habban began to be
used with both transitive and intransitive verbs so that, consequently, it was completely
taking over the function of the auxiliary of perfect forms. Moreover, the distinction
transitive-intransitive was becoming irrelevant for forming the present and past perfect.
The research showed that the change in the use of the auxiliaries with the
present perfect was already in progress at the beginning of the period during which
the letters of both collections were written, so that in the period from 1420 to 1509,
habban had already been the dominant auxiliary. In the beginning of the same period,
the change in the form of the past perfect was more rapid and dramatic, but after
1450s the change was progressing more slowly with oscillations in the direction of
its further development.
Taking into account the social context of the change of the present perfect,
it can be determined on the basis of the interaction of several external factors that, as
the research showed, appear to be relevant for the issue being discussed: social class,
time and register. The Stonor letters are characterized by the almost complete dominance of habban as the auxiliary of perfect structures. Moreover, it is in formal letters written by the members of the highest social circles in which the progress of this
change is the most obvious. Thus, the formal register used by the gentry is the social
context which the change in the perfect structures form originated from. Furthermore,
the dominant use of habban as the auxiliary of perfect forms carried the prestige label
which made a significant contribution to its spread throughout the speech community
due to which it developed from an innovation to language change.
REFERENCES
Chambers, J. K. et al (ed). (2003). The Handbook of Language Variation and Change.
Oxford: Blackwell Publishers Inc.
Horobin S., Smith J. (2002). An Introduction to Middle English. Edinburgh: Edinburgh University Press Ltd.
270
Ana Halas
Paston letters and papers of the fifteenth century. electronic corpus available at: http://etext.virginia.edu/mideng.browse.html
Smith, J. J. (1999). Essentials of Early English. London: Routledge.
Ana Halas
SADANJI I PROLI PERFEKAT U SREDNJOENGLESKOM
Rezime
U radu se ispituje jezika promena u nainu graenja sadanjeg i prolog perfekta u
srednjoengleskom: gubljenje pomonog glagola wesan/bon i generalizacije glagola habban
kao pomonog glagola u navedenim glagolskim oblicima. Promena je ispitivana na korpusu
koji ine pisma porodica Paston i Stonor. Praeni su sledei faktori koji su mogli uticati na ovu
jeziku promenu: pripadnost odreenoj drutvenoj klasi, vreme nastanka dokumenata, registar
i pol autora. Utvreno je da je u periodu od 1420 do 1509. pomoni glagol habban ve postao
dominantan u graenju sadanjeg i prolog perfekta, a da je data promena bila najizraenija u
formalnoj prepisci pripadnika najviih drutvenih krugova koje, u ovom sluaju, predstavlja
porodica Stonor. Promena je postala uzor pravilne upotrebe jezika za ostale nie drutvene
slojeve, koji su teili usponu na drutvenoj lestvici, to je, pretpostavlja se, znaajno doprinelo
njenom daljem razvoju, irenju i potpunom prihvatanju.
Kljune rei: srednjoengleski, jezika promena, sadanji perfekat, proli perfekat,
pomoni glagol, drutvena klasa, vreme, registar, pol.
. XXXV (2010)
Annual Review of the Faculty of Philosophy, Novi Sad. Volume XXXV (2010)
Predrag Novakov
novakovp@eunet.rs
UDK 811.111366:811.163.41366
Originalni nauni rad
REFERENCIJALNA TAKA
U ENGLESKIM I SRPSKIM GLAGOLSKIM VREMENIMA
Opta teorija glagolskog vremena u velikoj meri zasniva se na postavkama koje je
u svojoj knjizi Elementi simboline logike izneo H. Rajhenbah (Reichenbach 1947). Naime,
polazai od stava da glagolsko vreme odreuje vremensko lociranje date situacije u odnosu
na trenutak govora, Rajhenbah sva engleska glagolska vremena odreuje pomou tri vremenske take: take govora (G), take dogaaja (D) i referencijalne take (R). Kombinacije te tri
take, uz komponentu vremenske ekstenzije, ine kratke formule kojima Rajhenbah predstavlja engleska glagolska vremena. Razvijajui svoje postavke, Rajhenbah referencijalnu taku
povezuje i sa engleskim pravilom slaganja vremena, prvo predlaui pravilo permanentnosti
referencijalne take u takvim sluajevima; nakon analize pojedinih primera, on to pravilo
donekle modifikuje. Polazei od takvog teorijskog okvira, u ovom radu se ilustruje primena
Rajhenbahovih formula i pravila u engleskom i srpskom jeziku, te se ukazuje na mogue probleme, posebno ako se ima u vidu da u srpskom jeziku ne postoji pravilo slaganja vremena,
odnosno da se u tom kontekstu sree relativna upotreba glagolskih vremena.
Kljune rei: engleski, glagolsko vreme, Rajhenbah, referencijalna taka, srpski
1. UVOD
Opta teorija glagolskog vremena u znatnoj meri zasniva se na postavkama
koje je u svojoj knjizi Elementi simboline logike izneo Hans Rajhenbah (Reichenbach 1947, odeljak ,,Tenses of Verbs, 287-298) i koje su kasnije razraivane i komentarisane (Comrie 1986, Dahl 1987, Binnick 1991, Raji 1996, Novakov 2004,
Novakov 2008). Name, polazei od stava da glagolsko vreme predstavlja vremensko lociranje date situacije u odnosu na trenutak govora, Rajhenbah konstatuje da
se u odnosu na trenutak govora mogu razlikovati tri glagolska vremena: prolo (pre
trenutka govora), sadanje (potpuno ili delimino simultano sa trenutkom govora) i
budue vreme (nakon trenutka govora). Poto veina jezika sveta sadri vie od tri
glagolska vremena, Rajhenbah uz dve osnovne vremenske take (trenutak govora G
i trenutak dogaaja D) uvodi i referencijalnu taku (R) pomou koje se specifikuju
ostala vremena. Referencijalna taka je vremenska taka data u konkretnom kontekstu, a moe biti izraena drugim glagolskim vremenom u istoj ili drugoj reeni-
272
Predrag Novakov
Naziv prosto budue vreme sree se dva puta, za kombinacije G,R D i G R,D.
,,When several sentences are combined to form a compound sentence, the tenses of various clauses are adjusted to one another by certain rules which the grammarians call the rules for the sequence of tenses. We can
interpret these rules as the principle that, although the events referred to in the clauses may occupy different
time points, the reference point should be the same for all clauses a principle which, we shall say, demands
the permanence of the reference point. (Reichenbach 1947: 293)
274
Predrag Novakov
(2) *She had already consulted her lawyer when her uncle has phoned her and
told her the news.
prva klauza:
DRG
druga klauza:
D - G, R
trea klauza:
D,R G
Ovaj primer ilustruje uspenu primenu postavljenog pravila, pokazuje da ono moe
da naznai negramatinost reenice: primer (2) je negramatien jer se engleski proli
i sadanji perfekat ne mogu povezivati kako je to uinjeno u ovoj reenici, a na negramatinost ukazuju i formule u kojma take R nisu u istom stupcu.
(3) He was more successful when he was a lawyer than he is now.
prva klauza:
D,R G
druga klauza:
D,R G
trea klauza:
G, R, D
I sam Rajhenbah navodi slian primer kao ovaj (Reichenbach 1947: 295) da bi ilustrovao sluaj kada je engleska reenica gramatina, a referencijalne take nisu sve u
istom stupcu; dakle, po pravilu o permanentnosti referencijalne take, reenica (3) ne
bi trebalo da bude prihvatljiva.
(4) He will meet you when you arrive.
prva klauza:
G, R - D
druga klauza:
G, R, D
Navedena engleska reenica je gramatina, a to pokazuju i referencijalne take koje
su u istom stupcu. Meutim, kao to navodi i sam Rajhenbah (1947: 296), problem
moe da predstavlja injenica da lini glagolski oblik u drugoj klauzi ima oblik prezenta, ali se u svari odnosi na budue vreme; dakle, formalno gledano, taj oblik kao i
svaki drugi prezent treba prikazati formulom za prezent, mada on u primeru (4) ima
drugaiju, relativnu upotrebu.
(5) After she attended a course in creative writing, her poem was published.
prva klauza:
D,R G
druga klauza:
D,R G (uz ekstenziju)
Primer (5) je gramatian, kao to prikazuju date formule: oba dogaaja su predstavljena kao prolo vreme, prvi kao prosto, drugi uz vremensku ekstenziju. Meutim,
vremenski odnos izmeu dve klauze nije simultanost, jer prva klauza prethodi drugoj, a engleski proli perfekat nije upotrebljen poto vezniki elemenat after jasno
ukazuje na tu anteriornost. Dakle, ove klauze su formalno korektno prikazane, ali iz
tog prikaza ne sledi da postoji odnos anteriornosti/posteriornosti.
Na osnovu ovih nekoliko tipinih primera moe se konstatovati da Rajhenbahovo pravilo o permanentnosti referencijalne take zaista omoguava predvianje
gramatinosti engleskih reenica u kontekstu tipinom za slaganje vremena (indirektni govor sa superordiniranim glagolom u prolom vremenu i zavisnom nominalnom objekatskom klauzom, primeri 1a i 1b), kao i gramatinost pojedinih sloenih
reenica bez konteksta tipinog za slaganje vremena (primer 2 sa superordiniranom
Deo o sintaksi glagola, ukljuujui i glagolska vremena (strane 345-476), napisao je S. Tanasi.
276
Predrag Novakov
gramatian nakon primene tog pravila, ime su referencijalne take postavljene u isti
stubac.
(7) a) Zapazili su da se na ulici okupljaju ljudi.
b) *They noticed that people are gathering in the street.
prva klauza: D,R G
druga klauza:
G,D,R (uz vremensku ekstenziju u engleskom jeziku)
c) They noticed that people were gathering in the street.
prva klauza: D,R G
druga klauza: D,R G (uz ekstenziju)
Primer (7a) je gramatian, mada referencijalne take nisu u istom stupcu, jer je prezent u drugoj klauzi upotrebljen relativno i orijentie se u odnosu na vreme iz prve
klauze. Engleski primer bez primene slaganja vremena (7b) nije prihvatljiv, na ta
ukazuju i formule za glagolska vremena sa neodgovarajuom pozicijom referencijalne take u klauzama, dok je primer (7c) prihvatljiv nakon primene pravila o slaganju
vremena.
Kao i u engleskom jeziku, relativno upotrebljena ili transponovana glagolska
vremena u srpskom takoe mogu predstavljati problem za ovu analizu. Na primer:
(8) a) Sutra polazimo ranije nego to smo prvobitno planirali.
b) Tomorrow we start earlier than we first planned.
prva klauza:
G,D,R
druga klauza: D,R G
U prvoj klauzi i u srpskom i u engleskom jeziku prezent je transponovan i oznaava
budunost, a u drugoj klauzi postoji perfekat u srpskom, odnosno prosto prolo vreme u engleskom jeziku. Dakle, prvu potekou predstavlja prezent koji je predstavljen uobiajenom formulom, bez obzira na to to ne oznaava svoj tipini vremenski
segment; drugo, i engleska i srpska reenica je prihvatljiva mada ne postoji permanentnost referencijalnih taaka.
Konano, treba naglasiti da na vremenske odnose i mogue kombinacije srpskih glagolskih vremena u sloenim reenicama utiu i vezniki elementi, glagolska
semantika i glagolski vid, a ne samo vremenske take G, D i R, pa bi sve te komponente trebalo uzeti u obzir prilikom analize. Ta tematika zasluuje posebno, sveobuhvatnije istraivanje; navedimo ovde samo jedan primer sa vremenskom klauzom4:
(9) a) im stigne prolee, uenici e krenuti na izlete.
b) *im stie prolee, uenici e krenuti na izlete.
c) im stigne prolee, uenici kreu na izlete.
U ovim reenicama sa subordiniranom vremenskom klauzom negramatian je primer
(9b) u kojem se veznik im javlja sa prezentom glagola imperfektivnog vida stizati;
trenutni perfektivni glagol stii prihvatljiv je i sa futurom (9a) i sa prezentom (9c) u
superordiniranoj klauzi.
4
Odnosi izmeu glagolskih vremena, glagolskog vida i veznikih elemenata u sloenoj reenici sa vremenskom klauzom detaljno su obraeni u knjizi Vremenska reenica I. Antoni (Antoni 2001).
278
Predrag Novakov
Predrag Novakov
POINT OF REFERENCE IN ENGLISH AND SERBIAN TENSES
Summary
The general theory of tense to a great degree relies on the postulates presented by H.
Reichenbach in his book Elements of Symbolic Logic (1947). Reichenbach determines tenses
on the basis of three temporal points (the point of speech, the point of event and the point of
reference), with the temporal extension for the English progressive tenses (in recent grammars usually treated as aspect). Moreover, in this book Reichenbach first proposed the rule of
the permanence of the reference point in compound sentences to explain the grammaticality
related to the English sequence of tenses and then modified that rule after discussing relevant
English examples. Starting from this theoretical framework, this paper discusses possible difficulties in the application of the permanence of the reference point in English and specially
in Serbian which does not have the rule of the sequence of tenses. In the relevant contexts,
Serbian typically uses tenses with relative temporal determination determination based on
other temporal points, not only on the point of speech. Finally, the paper points to the fact that
verb semantics, aspect and linking elements (conjunctions) also influence temporal relations
in complex sentences in Serbian.
Key words: English, point of reference, Reichenbach, Serbian, tense
. XXXV (2010)
Annual Review of the Faculty of Philosophy, Novi Sad. Volume XXXV (2010)
Sabina Halupka-Reetar
halupka.resetar@ff.uns.ac.rs
UDK 811.111367:811.163.41367
Originalni nauni rad
1. UVODNA RAZMATRANJA
Na osnovu informativnosti, reenica se moe podeliti na dve jedinice; temu,
koja je u manjoj meri informativna u odnosu na diskurs, te fokus, koji je informativan, jer uvodi neto novo. Razliiti jezici koriste razliite naine za obeleavanje
ove dve jedinice, pri emu su im na raspolaganju morfoloka sredstva (afiksi), red
rei i prozodija, a neretko i neke kombinacije od njih. Cilj ovog rada jeste da ponudi
celovitu tipologiju strukturnih naina realizacije teme i fokusa u engleskom jeziku, a
potom i u srpskom, pri emu e se ovde praviti razlika u pogledu vrste fokusa koja se
pojedinom strukturom realizuje: informacioni, kao nosilac nove informacije (. Kiss
1998, npr. Koga si videla? Videla sam JOVANA.), ili kontrastni, koji podrazumeva
postojanje kontrasta, tj. negiranje date vrednosti i ispravljanje reenog (Kupila sam
plavu majicu (a ne utu)).
U engleskom i srpskom jeziku, kao i u mnogim drugim jezicima, tematizovani
elementi obino se nalaze u inicijalnom poloaju. Tema moe biti samo ono to je poznato, ili dato. Ono to je takoe zajedniko engleskom i srpskom jeziku jeste to to u neobeleenom sluaju informacioni fokus zauzima poslednje mesto u reenici. Kontrastni
fokus uglavnom je prozodijski obeleen kontrastnim naglaskom i ne karakterie ga posebno strukturno mesto. Meutim, kako emo u nastavku pokazati, u oba jezika postoje
posebne strukture koje se mogu upotrebiti u cilju fokalizacije, kako informacione tako i
kontrastne. Dosadanje pristupe strukturnoj artikulaciji fokusa trebalo bi stoga modifikovati, kako bi se na jedinstven nain mogle opisati postojee ali i predvideti sve mogue, i
samo mogue, strukturne realizacije fokusa u oba posmatrana jezika.
280
Sabina Halupka-Reetar
2. STRUKTURNA ARTIKULACIJA FOKUSA U ENGLESKOM JEZIKU
obeleena varijanta
The card she accepted.
I made without delay all the
changes you wanted.
There is a cat at the front
door.
That girl, she seems to be
very special.
Hes still hammering, your
dad.
It was you who asked her
out.
neobeleena varijanta
She accepted the card.
I made all the changes you
wanted without delay.
A cat is at the front door.
That girl seems to be very
special.
Your dad is still
hammering.
You asked her out.
prividno razdvojena
konstrukcija
Who asked her out was you. You asked her out.
pasiv
Meutim, nisu sve ove konstrukcije naini realizacije fokusa, ve se u nekima radi o
tematizaciji. Naime, primena razliitih testova, koje ilustrujemo u (1)-(8), ukazae na
to da li element u pitanju u datom kontekstu predstavlja poznatu informaciju (temu)
pa se mora koristiti odreena imenika sintagma (primeri (a)), da li podrazumeva
kontrastiranje jednog elementa skupa i iskljuivanje svih drugih mogunosti realizacije (kontrastni fokus, primeri (b)), ili pak predstavlja novu informaciju (informacioni fokus, primeri (c)). Ovde valja objasniti razliku izmeu tematizacije i fokalizacije:
dok je tematizacija (eng. fronting) sintaksika struktura u kojoj se na poetak reenice stavlja poznata informacija (iako se tema u drugim jezicima moe oznaiti i morfolokim i fonolokim sredstvima), fokalizacija podrazumeva sve naine koji slue
tome da se istakne fokus reenice. Drugim reima, fokalizacija nije posebna struktura
ve obuhvata niz naina koji slue za obeleavanje ili isticanje fokusa.
Reenice u zagradi u narednim primerima daju ui kontekst diskursa, a znak
# ispred pojedinih reenica signalizira da su one neprihvatljive u datom okruenju.
U primerima (a) kontekst u zagradi je uvek takav da se u odgovoru mora istai tema
Tematizacija
a. (She refused the parcel. Tell me about the card.) The card she accepted.
b. (She accepted the parcel.) #(No,) the card she accepted.
c. (What did she accept?) #THE CARD she accepted.
(2)
Postpozicija
a. (Tell me about the all the changes I wanted.) #I made without delay all
the changes you wanted.
b. (You made a huge mistake without delay.) #(No,) I made without delay
all the changes you wanted.
c. (What did you do without delay?) I made without delay ALL THE
CHANGES YOU WANTED.
(3)
Egzistencijalna konstrukcija
a. (Tell me about the cat.) #There is a cat at the front door.
b. (There is a dog at the front door.) (No,) there is a cat at the front door.
c. (What is at the front door?) There is A CAT at the front door.
(4)
Leva dislokacija
a. (Tell me about that girl.) That girl, she seems to be very special.
b. (Does my brother seem to be very special?) #(No,) that girl, she seems
to be very special.
c. (Who seems to be special?) #THAT GIRL, she seems to be very special.
(5)
Desna dislokacija
a. (Tell me about my dad.) Hes still hammering, your dad.
b. (The guy next door is still hammering.) #(No,) hes still hammering,
your dad.
c. (Whos still hammering?) #Hes still hammering, YOUR DAD.
(6)
Razdvojena konstrukcija
a. (Tell me about the girl.) #It was you who asked her out.
b. (John asked her out.) (No,) it was you who asked her out.
c. (Who asked her out?) #It was YOU who asked her out.
282
Sabina Halupka-Reetar
(7)
(8)
Pasiv
a. (Tell me about the building.) The building was built by Crysler.
b. (Rockefeller built the building.) #(No,) the building was built by
Crysler.
c. (Who built the building?) #The building was built by CRYSLER.
Stepen primerenosti ovih primera pokazuje da nisu uvek svi strukturni naini izraavanja informacijske strukture u engleskom jeziku podjednako prihvatljivi.
Na osnovu gornjih podataka, meutim, mogu se klasifikovati strukture koje su u engleskom jeziku na raspolaganju za izraavanje informacijske strukture reenice, i to
na nain koji predlaemo u sledeoj tabeli, gde se u prvoj koloni nalaze strukture,
dok znaci +, odnosno u sledee tri kolone oznaavaju da li se one koriste u cilju
izraavanja teme (T), kontrastnog fokusa (KF) ili informacionog fokusa (IF):
struktura
KF
IF
TEMATIZACIJA
POSTPOZICIJA
EGZISTENCIJALNA KONSTRUKCIJA
LEVA DISLOKACIJA
DESNA DISLOKACIJA
RAZDVOJENA KONSTRUKCIJA
PRIVIDNO RAZDVOJENA
KONSTRUKCIJA
PASIV
Od struktura koje Huddleston i Pullum (2002: 1366) nabrajaju kao sintaksike naine realizacije informacijske strukture u engleskom jeziku, tematizacija, leva i
desna dislokacija, te pasiv koriste se kao naini izraavanja teme, otuda slinost ovih
konstrukcija u pogledu neprikladnosti u situacijama kada ono to biva tematizirano
nije ve poznato u datom diskursu (tj. kada se ove strukture upotrebe za ispravljanje
sagovornika, kao u primerima (1-8) pod (b), odn. za davanje nove informacije, kao
to je to sluaj u primerima (1-8) pod (c)); postpozicija, egzistencijalna konstrukcija
i prividno razdvojena konstrukcija koriste se za izraavanje informacionog fokusa,
postpozicija
prividno razdvojena
konstrukcija
pasiv
negativna inverzija
+
+
+
KF
Tabela 3: Sintaksike strukture za izraavanje teme, kontrastnog fokusa, odn. informacionog fokusa u engleskom jeziku
ekvativna kopulativna
konstrukcija
obrnuta privido razdvojena
konstrukcija
pomeranje fokusa
lokativna inverzija
razdvojena konstrukcija
desna dislokacija
neobeleena varijanta
leva dislokacija
egzistencijalna konstrukcija
obeleena varijanta
tematizacija
struktura
IF
284
Sabina Halupka-Reetar
Prividno razdvojene reenice u kojima fokus ini neka priloka sintagma zvue prirodnije ukoliko relativnoj
zamenici na poetku reenice prethodi imenika sintagma the way/the manner za prilog za nain, the place
za mesni prilog, the time za vremenski prilog, itd. (v. i Adger 2003).
286
Sabina Halupka-Reetar
(15) a. Very reluctantly is how he agreed to help.
b. To your dad is who he gave the keys.
c. In the garage is where I keep my tools.
d. Take up French is what I intend to do next.
Zbog svega reenog, kao i zbog primera koji potkrepljuju ovde date zakljuke, ini se opravdanim smatrati prethodne tri konstrukcije prototipinim predstavnicima strukturne artikulacije fokusa u engleskom jeziku. U narednom odeljku bie
ponuen pregled strukturnih naina artikulacije fokusa kojima raspolae srpski jezik.
3. STRUKTURNA ARTIKULACIJA FOKUSA U SRPSKOM JEZIKU
Za razliku od engleskog jezika, koji, kako smo u prethodnom odeljku pokazali, ima brojne strukturne naine obeleavanja fokusa, u srpskom jeziku glavno
sredstvo fokalizacije jeste reenini akcenat (njegova distribucija i intenzitet, uz odgovarajuu reeninu melodiju), te je upravo zahvaljujui tome rasporeivanje fokusa u njemu, uslovno reeno, slobodno (v. Popovi 1997). Reenica moe imati
(paradigmatski) onoliko komunikativnih fokusa koliko ima konstituenata, ali se u
konkretnoj realizaciji (sintagmatski) bira samo jedan. Prema Tooviu (2001: 208),
postoji pet sredstava pomou kojih se vri aktualizacija iskaza ili odreivanje komunikativnog teita, fokusa reenice i to: (1) red rei, (2) frazni akcenat, (3) intonacija,
(4) rece i (5) posebne konstrukcije. No, kako su tema ovog rada strukturni naini
artikulacije fokusa, ovde e biti od znaaja samo prva mogunost, tj. varijacije reda
rei u cilju izraavanja fokusa, s osvrtom na pomeranje upitnih rei, za koje neki
autori (npr. Stjepanovi 1999: 179) tvrde da predstavlja podvrstu pomeranja (kontrastnog) fokusa.
U srpskom jeziku, dakle, teorijski je mogu bilo koji red rei u cilju izraavanja informacionog fokusa naravno, ukoliko se time ne naruavaju druga pravila,
npr. prozodijsko pravilo drugog poloaja klitike u intonacijskoj frazi; poslednji element u reenici je, u prototipinom sluaju, taj koji nosi novu informaciju. Tako su,
na primer, sa dvoprelaznim glagolom mogue sledee varijacije u pogledu reda rei
(radi bolje preglednosti primera u nastavku svake reenice dajemo i redosled elemenata, gde simbol S stoji za subjekat, V za glagol, IO za indirektni objekat, a DO za
direktni objekat):
(16) a. Marija je dala Jovanu KNJIGU.
b. Marija je Jovanu dala KNJIGU.
c. Marija je dala knjigu JOVANU.
d. Marija je knjigu dala JOVANU.
e. Marija je Jovanu knjigu DALA.
f. Marija je knjigu Jovanu DALA.
S V IO DO
S IO V DO
S V DO IO
S DO V IO
S IO DO V
S DO IO V
DO V S IO
DO S V IO
DO V IO S
DO IO V S
DO S IO V
DO IO S V
IO V S DO
IO S V DO
IO V DO S
IO DO V S
IO S DO V
IO DO S V
V S IO DO
V S DO IO
V DO IO S
V DO S IO
V IO S DO
V IO DO S
288
Sabina Halupka-Reetar
(17) Ko je kupio knjigu?
(18) a. IVAN je kupio knjigu.
b. Knjigu je kupio IVAN.
Na slian nain, u objekatskim pitanjima poput (19), svi su ispitanici obeleili (20a) kao mogu odgovor, ali je veliki broj anketiranih smatrao (20b) ili podjednako ili neto manje valjanim odgovorom od (20a):
(19) ta je Ivan kupio?
(20) a. Ivan je kupio KNJIGU.
b. KNJIGU je Ivan kupio.
Koliko god da su nedovoljno reprezentativni, ovi podaci ukazuju na mogunost da se standardni govorni srpski jezik razlikuje od pisanog srpskog jezika.2
Ukoliko je ovaj zakljuak taan, onda se srpski jezik s jedne strane ponaa poput
engleskog, jer dozvoljava da argumenti glagola ine informacioni fokus u svom prototipinom argumentskom poloaju, kako to primeri (18a) i (20a) potvruju, dok, s
druge strane, za razliku od engleskog jezika, u srpskom argumenti mogu izraavati
informacioni fokus i u nekom drugom poloaju subjekat u poslednjem poloaju, to
je oekivano mesto informacionog fokusa, a objekat u poetnom poloaju, to je red
rei preslikan sa pitanja na koje je reenica (20b) prihvatljiv odgovor. Meutim, iako
za ovaj rad nisu sprovedena ispitivanja koja bi ukazala na jainu akcenta inicijalnog
subjekta u (18a), odnosno objekta u (18b) (prvenstveno zbog toga to ovaj rad nema
u sreditu interesovanja fonologiju, v. Halupka-Reetar u pripremi), ini se da je za
prihvatljivost ovih odgovora na pitanja (18) i (20) ipak neophodna neka vrsta dodatnog naglaska, iako znatno manja nego u reenicama s kontrastnim fokusom. U ovom
smislu, uporedimo (18a) i (20b) sa sledeom reenicom:
(21)
Odreivanje statusa primera (18a) i (20b) ostaviemo za neka budua istraivanja, jer se ini da bi za celovitu sliku ove pojave bilo uputno sprovesti i fonoloka
merenja kako bi se zakljuci temeljili na pouzdanim empirijskim podacima. Za sada,
ovde emo se prikloniti ustaljenom stavu da informacioni fokus zauzima poslednje
mesto u reenici.
U pogledu kontrastnog fokusa moemo rei da reenini elementi, uz kontrastni naglasak, mogu imati funkciju kontrastnog fokusa bez vidljivog pomeranja
2
Slinu situaciju opaa i van Gelderen (2003: 47) u ruskom jeziku, tvrdei da je savremeni standardni ruski
jezik rezultat duge tradicije preskriptivizma. Ako isto, ili slino, vai i za srpski jezik, onda je govorna varijanta, u ovom sluaju empirijski potvrena odgovorima 60 ispitanika, svakako ona koja daje taniju sliku
stanja jer odraava stvarnu jeziku upotrebu, a ne preskriptivnu normu.
290
Sabina Halupka-Reetar
(28) a. Njega je Marija pozvala sluajno / Marija je sluajno pozvala njega. (a
ne nju)
b. Jeste ga pozvala Marija / ? Marija ga pozvala jeste.
Za razliku od reenica (22-25), kontrastno fokalizovani konstituenti u (2628) jesu podvrgnuti pomeranju. U sluaju argumenata (26), ini se da je jednako moguno pomeranje u preverbalni i u postverbalni poloaj; u sluaju adjunkt (primeri
(27)) svejedno je da li se pomeranje deava u poetni poloaj u reenici ili u neki nii
poloaj, dok reenice (28) pokazuju da je pomeranje kontrastno fokalizovanog elementa podjednako mogue i sa neklitikim oblicima pomonog glagola i zamenice.
Pitanje koje se namee na osnovu ovih primera jeste ta omoguava (mada
ne i uslovljava) pomeranje kontrastno fokalizovanog elementa u srpskom jeziku. Odgovor na ovo pitanje podrazumeva i otkrivanje razloga zbog kog je taj mehanizam
dostupan u srpskom jeziku ali ne i u engleskom, kako to naredni primeri pokazuju:
(29) a. John put a snowball into your shoes. / *Put a snowball into your shoes
John. / *A snowball John put into your shoes. (not Peter)
b. I saw John. / *John I saw. / *I John saw. (not Peter)
c. John gave the book to Mary. / *To Mary John gave the book. / *John
gave to Mary the book.
d. *In the shop I met John. / *I met in the shop John. / I met John in the
shop. (not on the corner)
Naime, u engleskom jeziku, kao to se to na osnovu gornjih primera moe
zakljuiti, kontrastno fokalizovani elementi ne mogu se pomerati, bez obzira na to da
li su argumenti (29a-c) ili adjunkti (29d).
Nadalje, ako je pomeranje upitnih rei podvrsta pomeranja fokusa, onda bi
se oekivalo da njihova distribucija u posmatrana dva jezika bude ista kao i distribucija kontrastno fokalizovanih elemenata, no ova pretpostavka, kao i prethodne,
zahteva dalje istraivanje.
4. ZAVRNA RAZMATRANJA
Moemo zakljuiti, bez pretenzija da objasnimo razloge zbog kojih je situacija u posmatrana dva jezika takva kako primeri pokazuju, da su strukturne mogunosti artikulacije fokusa u engleskom i srpskom jeziku brojne i raznolike. U engleskom
jeziku to su tematizacija, postopozicija, leva i desna dislokacija, razdvojene, prividno razdvojene i obrnute prividno razdvojene reenice, te egzistencijalna konstrukcija,
pasiv, lokativna inverzija, postpozicija imenikog dela sintagme, ekvativna kopulativna konstrukcija, pomeranje fokusa i negativna inverzija, ali se zbog primenljivosti
na najrazliitije reenine konstituente prototipinim predstavnicima ove kategorije
292
Sabina Halupka-Reetar
Sabina Halupka-Reetar
STRUCTURAL TYPES OF FOCUS ARTICULATION IN ENGLISH AND SERBIAN
Summary
The paper deeals with the structural means English and Serbian employ for expressing focus. From among the various constructions English has at its disposal for the purpose of
focus articulation, cleft, pseudo-cleft and reverse pseudo-cleft sentences are identified as being
the best representatives of this class, as they are applicable to almost all types of constituents.
Serbian, on the other hand, typically marks focus constituents using (apparently free) word
order variation, coupled by prosodic means.
Key words: syntax, information structure, topic, focus, English, Serbian.
. XXXV (2010)
Annual Review of the Faculty of Philosophy, Novi Sad. Volume XXXV (2010)
malanovic@ptt.rs
UDK 811.163.41367
811.163.4137
1
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- nap (. ),
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(. :
).
gel, Vilmos et al. (2003). Dependenz und Valenz / Dependency and Valency. Vol. 1.
Berlin: Walter de Gruyter. Aissen, Judith (1979). The Syntax of Causative Constructions. NY: Garland Publishing
, . (1995). .
. I. :
.
... 301
, . (20033). u . : .
Batisti, Tatjana (1978). nekim aspektima analize kauzativnih glagola. . XXXIV: 5987.
, (1941). u . :
.
, (2002).
.
. 62: 149157.
, (2000). - . : .
Dik, Simon . (1997 ). The Theory of Functional Grammar. Part 1: The Structure of
the clause. Berlin - New York: Mouton de Gruyter.
Eisenberg, Peter (1986). Grundriss der deutschen Grammatik. Stuttgart: Metzler.
, A. (2003). .
: .
, (2006).
: -- / --. .
70: 213220.
Mrk, Henning (1970). Middle and middle-sausative constructions in serbo-croatian (a generative study). u
. XIII/ 1: 5569.
, (2007).
. . 7172:
481497.
, . . (1983). . . XXXIX: 8597.
, (2000). .
. LVI/34: 11691177.
, . (2001). . : .
: . . 13, :
, . 46, : .
1967.
: . 117. :
. 1959
302
Milivoj Alanovi
KAUSATIVITT UND DEKAUSATIVITT ZWEI FORMEN EINES KONZEPTES
Zusammenfassung
In dieser Arbeit befassen wir uns mit dem Phaenomen der Konvertierung im Rahmen der Kausativitt. In diesem Sinne besprechen wir die Regeln die die Relation Kausativitt
- Dekausativitt bestimmen. Typische dekausative Verben sind in drei Klassen geteilt: rezessive, reaktive und submissive Verben.
. XXXV (2010)
Annual Review of the Faculty of Philosophy, Novi Sad. Volume XXXV (2010)
Nataa Milivojevi
zinger@sbb.rs
UDK 811.111367:811.163.41367
Originalni nauni rad
UVOD
Predmet istraivanja ovog rada je konstrukcija iji upravni element pripada
klasi glagola emitovanja zvuka. Glagoli emitovanja zvuka u engleskom jeziku prema
klasifikaciji Bet Levin (Levin 1993: 234-236) ine posebnu klasu glagola sa zajednikim semantikim odlikama i sintaksikom strukturom argumenata. Ovi glagoli
leksikalizuju emisiju zvuka, najee su neprelazni, a unutar konstrukcije usmerenog
kretanja projektuju inanimatni subjekat. U srpskom jezku, kao to e pokazati naa
analiza, situacija je neto drugaija.
U radu se analiziraju konstrukcije usmerenog kretanja koje sadre glagol
emitovanja zvuka, pri emu taj glagol unutar konstrukcije ne oznaava zvuk ve
kretanje. Ovakva realizacija znaenja mogua je zahvaljujui specifinoj strukturi argumenata u okviru konstrukcije, iji obavezni element, pored glagola te sintaksikog
304
Nataa Milivojevi
subjekta koji taj glagol projektuje, jeste i predloka fraza kojom se oznaava putanja
kretanja tokom kog se emituje zvuk koji je deo primarne leksikalizacije upravnog
elementa konstrukcije, odnosno glagola. Re je, prema tome, o specifinom, struktrurno realizovanom znaenju, ije postojanje u pomenutim konstrukcijama nosi jo
niz semantikih i sintaksikih odlika, to potrebno sagledati i objasniti u meujezikoj perspektivi. Neke od specifinosti odnose se i na specifine odlike subjekta na
prisustvo i odsustvo svojstva voljnosti te animatnosti spoljanjeg argumenta, a zatim i na ukupni teleoloki potencijal tog sintaksikog argumenta unutar konstrukcije
usmerenog kretanja u engleskom i srpskom jeziku. Primeri konstrukcija usmerenog
kretanja u engleskom i srpskom jeziku dati su u nizu reenica 1a-d (primeri 1a i 1b su
primeri za engleski, a primeri 1c i 1d su primeri na srpskom jeziku):
1.
a) The bus rumbled down the street.
b) The bullet whistled into the room.
c) Kamion je tutnjao uz brdo.
d) Petar je pevao ulicom.1
Kada je re o glagolima emitovanja zvuka, prototipska instanca konstrukcije usmerenog kretanja u engleskom jeziku koja ukljuuje glagol emitovanja zvuka
zapravo iskazuje kretanje praeno zvukom, a ne glagolski dogaaj u kom je agens
intencionalni emiter zvuka. Ova razlika moe se u engleskom jeziku ilustrovati primerima 2a i 2b:
2.
a) The train whistled into the station. (zvuk je posledica kretanja)
b) Peter whistled a tune. (zvuk je rezultat intencionalne radnje emitovanja)
Sintaksiki analizirano, primer 2a je neakuzativna konstrukcija, dok je 2b
neergativna konstrukcija.. Podela na neakuzativne i neergativne glagole posmatra
se kao deo univerzalnog jezikog ponaanja i predstavlja jedan od kljunih aspekata
poreenja srpskog i engleskog jezika u okviru ovde predstavljene analize. Poseban
aspekt analize jeste i injenica da se u dva posmatrana jezika pomenuta konstrukcija
usmerenog kretanja sa glagolom emitovanja zvuka manifestuje na razliite naine,
kao to se vidi iz primera 3a, 3b i 3c (gde se primer 3c kontrastira sa engleskim primerom 3d):
3.
a) Kamion je protutnjao kroz tunel. (neakuzativna konstrukcija)
b) Jovan je zvidao poznatu melodiju. (neergativna konstrukcija)
1
Ukoliko nije drugaije naznaeno, reenini primeri koji se koriste u tekstu su autorkini primeri. Ukoliko je
primer preuzet iz relevantne literature, knjige ili naunog lanka, to je oznaeno naslovom i brojem strane
izvornog teksta; ukoliko je reenica preuzeta iz knjievnog dela, pored primera stoji skraenica za naslov
dela i broj strane, na primer LT:56 (Lov na tigrove 56).
Prema anglistikoj literaturi (up. Goldberg&Jackendoff 2004, Culicover&Jackendoff 2005), ovakve realizacije zvuka i kretanja su u engleskom jeziku ( za razliku od srpskog) negramatine.
306
Nataa Milivojevi
Daniela Lupsa u ukupnom zaljuku lanka navodi da su glagoli emitovanja zvuka u svim svojim instancama
sintaksiki neergativni. Meutim, njena analiza se oslanja na leksika pravila koja su pragmatiki motivisana, te izlaze iz okvira formalne analize kakva je zastupljena u ovom radu. Sem toga, ovde emo pokazati
da karakterizacija i distinkcija prema Lupsa 2003 nije dovoljno precizna niti ekspalantorno adekvatna, i
ponudiemo osavremenjenu, precizniju analizu fenomena o kom se diskutuje i koji se analizira.
308
Nataa Milivojevi
17.
DPagent
Peter
DP
(DO)
whistled
5
a whistle
Zbog lakeg praena teksta i zbog ogranienja prostora ovde dajemo sintaksike dijagrame za engelski jezik,
uz napomenu da ista strukturna ogranienja vae i u srpskom.
310
Nataa Milivojevi
18.
vP
DPcause
The bullet
SC
(CAUS)
whistled
Pred
DP
into
the room
Ista vrsta strukturnog ogranienja u engleskom i srpskom javie se i sa glagolima emitovanja zvuka. Samo oni entiteti koji mogu da samostalno proizvedu emisiju zvuka jesu i pravi agensi. Jezike situacije kakva je The bullet whistled into the
room gde prisustvo neagentivnog, teleoloki neadekvatnog uzroka na poziciji subjekta ponovo izaziva promenu sintaksike strukture, dokaz su da je the bullet u ovom
primeru ne-agentivni uzrok glagolskog dogaaja, koji onda povlai prisustvo male
klauze u sintaksikoj realizaciji reenice, jer sekundarni predikat into mora biti prisutan da bi reenica bila gramatina. Kada je predikat konstrukcije glagol emitovanja
zvuka, malo v ima znaenje kretanja po putanji koje selektuje malu klauzu ali kom
nedostaje pravi sintaksiki subjekat (konstrukcija je neakuzativna, tj. the bullet nije
ni pravi subjekat ni pravi agens).
ZAKLJUAK
Analiza predstavljena u radu pokazuje je da je svojstvo teleoloke sposobnosti kljuno svojstvo putem kog je mogue objasniti tzv. efekat animatnosti u interakciji sa gramatikom i konceptualnom strukturom. Kljuna osobina koja odlikuje
agense jeste teleoloki kapacitet entiteta na sintaksikoj poziciji subjekta da samostalno generie radnju od poetka do kraja - a ne njegova animatnost. Ova dva svojstva preklapaju se u velikoj meri i nije ih uvek lako razdvojiti stoga to je veliki broj
glagolskih dogaaja i jezikih situacija vezan sa iskljuivo animatnim entitetima. U
sluajevima glagolskih dogaaja koji e se pojaviti sa neanimatnim entitetima pokazano je da se sintaksiko ponaanje spoljanjeg argumenta glagola ne menja, pa tako
ni strukturna interpretacija konstrukcije, to ukazuje na to da ovakve neanimatne entitete takoe treba formalno analizirati kao agense. Sintaksike generalizacije validne
312
Nataa Milivojevi
Perlmutter, D. M. (1978). Impersonal passives and the Unaccusative Hypothesis. Proc. of the 4th Annual Meeting of the Berkeley Linguistics Society. UC
Berkeley. 157189.Talmy, L. (2000). Toward a Cognitive Semantics: Typology and Process in Concept Structuring. Cambridge, MA: MIT Press.ain.
Piper, P. et.al. (2005). Sintaksa savremenog srpskog jezika. Prosta reenica (u redakciji Milke Ivi). Matica srpska, Beograd: Institut za srpski jezik SANU,
Beogradska knjiga.
Talmy, L. (1991).Path to realization - via aspect and result. Proceedings of BLS 17,
480519.
Talmy, L. (1985). Lexicalization patterns: Semantic structure in lexical forms. Language Typology and Syntactic Description Vol. 3: Grammatical Categories
and the Lexicon, ed. T. Shopen (New York: Cambridge University Press):
57-149
Talmy, L. (1975). Semantics and syntax of motion. Syntax and Semantics vol. 4, ed.
J. P. Kimball (New York: Academic Press): 181238.
Nataa Milivojevi
SYNTACTIC SUBJECTS AS TELEOLOGICALY CAPABLE AGENTS
IN ENGLISH AND SERBIAN DIRECTED MOTION CONSTRUCTIONS
Summary
In this paper, we consider a number of phenomena in English, and in Serbian involving external arguments in directed motion constructions with sound emission verbs where
animacy and volition seem to constrain grammaticality. We come to the conclusions that, at
least in the cases under analysis, a more appropriate notion should be evoked, i.e. the notion
of teleological capability and that the inherent abilities of an entity to participate in an event is
at the basis of its grammatical occurrence.
Key words: subject, agent, teleology, animacy, directed motion construction, verbs
of sound emission, unaccusativity, English, Serbian
. XXXV (2010)
Annual Review of the Faculty of Philosophy, Novi Sad. Volume XXXV (2010)
Dr Ljubica Vlahovi
violavolland@eunet.rs
UDK 811.133367.3:811.163.41367
811.133.1-116
Originalni nauni rad
LA CORRLATION DE QUALIT
La corrlation comparative sinstitue par des instruments syntactico-smantiques, termes spcifiques aptes marquer les relations concernes dans les constructions comparatives. La corrlation soit de quantit soit de qualit dans les constructions comparatives correspondantes sappuie sur deux termes corrlatifs essentiels :
un connecteur intgrant la subordonne et un antcdent (ici appel corrlateur) plac
dans la principale.
La corrlation de qualit tablit un rapprochement (une identit) ou un
loignement (une altrit) des phnomnes compars depuis lensemble de leur(s)
proprit(s) donne(s), ce qui la distingue de la corrlation de quantit qui tablit
un rapprochement (une galit) ou un loignement (une ingalit) des phnomnes
compars depuis le degr de leur(s) proprit(s).
On pourrait dire que cest dans la conception et lapprhension de la comparaison que stablit la distinction entre la corrlation de quantit et la corrlation de
qualit. P. Le Goffic caractrise la corrlation de qualit par rapport la corrlation de
quantit : La notion de degr sestompe dans la corrlation de qualit /.../ le degr se
rduit la simple manire (dtre) et la qualit (Le Goffic 1993 : 403).
314
Ljubica Vlahovi
316
Ljubica Vlahovi
le mme que - isti kao (i)
(1) Michel est rest le mme quautrefois.
> ... qu[il avait t] autrefois.
(1) Miel je ostao isti kao nekada.
> ... kao [to /on/je bio] nekada. /on = /
(2) Ses cheveux avaient la mme odeur que sa main, dobjet inutilis. (DU /
L 29)
> ... que [tait celle quavait] sa main, dobjet inutilis.
(2) Kosa joj je imala isti miris kao i ruka, nekorien predmet. (Dl / L 17)
> ... kao [to je bio onaj koji je imala] ruka, nekorien predmet.
(3) La forme extrieure du despotisme est la mme que celle des autres gouvernements... (ST / CH 378)
>...que [est] celle des autres gouvernements.
(3) Spoljanji je oblik despotizma isti kao i u drugim vladavinama. (ST/KM
417)
> ...kao [to je onaj] u drugim vladavinama.
318
Ljubica Vlahovi
Le terme tel est dfini comme adjectif indfini (lat. talis tel, pareil ) et pronom indfini. Tel adjectif indfini peut tre suivi de que selon le sens, et est toujours
suivi de que dans les constructions dtermines (DFV2 1972 : 1170).
Les termes ovakav, takav, onakav sont dfinis comme pronoms dmonstratifs de qualit : ovakav indique quun tre ou objet est tel (pareil ) que celui quon
dsigne (RSHKJ, 2, 1969 : 892) ; takav sert indiquer les qualits d`un tre ou objet
par comparaison avec une notion de la sphre de linterlocuteur, une notion mentionne (RSHKJ, 6, 1976 : 128) ; par le terme onakav on indique que quelquun ou
quelque chose est tel (pareil ) que celui ou ce quon dsigne ou quon a mentionn
(RSHKJ, 4, 1971 : 138). En corrlations avec les pronoms ovakav, takav, onakav
ou les adverbes ovako, tako, onako prcdant un adjectif, le terme kakav (pronom
caractre interrogatif ou relatif) indique une relation entre les qualits de deux phnomnes (RSHKJ, 2, 1967 : 630).
tel que - takav / onakav kakav
(6) Durant cette priode, une profusion dorganismes nouveaux est ne dans
les ocans et les embranchements des animaux sont apparus, tels quils
existent encore lheure actuelle. (MO 2/11/96, p. 15)
(6) Tokom tog perioda, u okeanima se pojavilo mnotvo novih organizama i
poelo je takvo grananje ivotinjskih vrsta kakvo postoji jo i danas.
(7) ... ou alors, prfrait-il quelle reste telle quelle avait t pendant dix ans
U. Bridge... (DU/L70)
(7) ... ili bi on moda vie voleo da je ona ostala onakva kakva je bila tokom
deset godina u Ju. Bridu... (Dl /L 42)
(8) Je limagine, tel que je lai vu Marseille lors de notre dernire entrevue...
(MAL / C 61)
(8) Zamiljao sam ga onakvog kakvog sam ga video u Marselju za vreme
naeg poslednjeg susreta... (MAL / O 37)
(9) ... toutes les fois que limage dOrso se prsentait son esprit, il lui apparaissait toujours tel quelle lavait vu au moment de son dpart... (ME / C
I 44)
(9) ...kad god bi joj se Orsova slika pojavila pred oima, uvek je bio onakav
kakvog gaje videla kad je polazio... (ME / K 116)
Lauteur explicite le terme nominal (Grevisse 1969 : 412) : Le pronom est parfois employ absolument : il
ne reprsente alors aucun mot, aucun adjectif, aucune ide, aucune proposition exprims, et cest improprement quil est appel pronom : lappellation qui lui convient est celle de nominal .
320
Ljubica Vlahovi
autre que / que P - drugi / drugaiji nego / nego to P
(10) Dans la mme ligne un document se demande sil existe une vie autre que
terrestre... (FI 28/3/00 p.33)
> ... que [nest la vie] terrestre.
(10) U istoj liniji jedan dokument se pita da li postoji neki ivot drugaiji nego
zemaljski...
> ... nego [to je ivot] zemaljski...
(11) Anne est devenue autre quelle ntait autrefois. (11) Ana je postala drugaija nego to je bila ranije.
(12) Cette politesse tait bien autre chose que celle de M. de Rnal, mme dans
ses bons jours. (ST / RN I 97)
> ... que [ntait] celle de M. de Rnal.
(12) Taje uljudnost bila neto sasvim drugo nego uljudnost gospodina de Renala, ak i onda kad je bio raspoloen. (ST / CC 134)
>... nego [to je bila] uljudnost gospodina de Renala.
Dans le Dictionnaire des difficults de la langue franaise, on note que si la principale est affirmative, derrire autre que. le ne est gnralement employ devant le verbe de la subordonne, et derrire autrement que,
il a un emploi facultatif. (DDLF 1971 : 45).
322
Ljubica Vlahovi
- Les phrases en mme que et en isti kao (to) et les phrases en tel que et en takav /
onakav kakav marquent une identit ou une analogie, alors que les phrases en autre
que et autrement que et en drugi / drugaiji nego (to) et drugaije nego (to) marquent non seulement une altrit ou une diffrence, mais aussi une diffrence quantitative - une supriorit intensive.
- Les phrases franaises et les phrases serbes sont semblables par la structure syntaxique globale, le sens des antcdents et le fonctionnement des structures corrlatives, mais elles diffrent par la morphologie et la syntaxe du connecteur (vu le
contraste entre le connecteur que invariable et le connecteur variable kakav, kao,
nego et largi kao to, nego to), ainsi que par la particule ne dans lchantil.
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Rivara, R. (1990). Le systme de la comparaison. Sur la construction du sens dans
les langues naturelles. Paris : Minuit.
Stevanovi, M. (1979). Savremeni srpskohrvatski jezik. II, Beograd : Nauna knjiga,
3e d.
Thomas, A.V. (1971). Dictionnaire des difficults de la langue franaise. Paris, Larousse.
Toanac-Milivojev, D. (1989). Propositions, phrases et texte - Syntaxe de phrase
franaise. Novi Sad, A - Jezike studije ISJK, Univerzitet u Novom Sadu.
Wagner, R.-L, Pinchon, J. (1962). Grammaire du franais classique et moderne. Paris : Hachette.
Dr Ljubica Vlahovi
RELACIJE IDENTITETA I ALTERITETA
U KOMPARATIVNIM REENICAMA FRANCUSKOG I SRPSKOG JEZIKA
Rezime
Francuske i srpske komparativne reenice za oznaavanje identiteta i alteriteta sagledavaju se u sklopu komparativne korelacije na osnovu odnosa izmeu korelacije kvaliteta (koju
predstavljaju) i korelacije kvantiteta. U radu se ispituju njihove korelativne strukture : antecedens u glavnoj reenici - marker korelacije kvaliteta, konektor i zavisna reenica - talon.
Kontrastivna analiza francuskih i srpskih reenica pokazala je njihove karakteristike,
funkcije i njihove unutarjezike i meujezike odnose.
Reenice sadre adjektivalni antecedens (mme i isti, tel i takav / onakav, autre i
drugi / drugaiji) ili adverbijalni antecedens (autrement i drugaije).
Zavisna reenica je najee eliptina iza mme, autre, autrement i isti, drugi / drugaiji i drugaije, a veinom potpuna iza tel i takav / onakav.
Reenice sa mme que i sa isti kao (to) i reenice sa tel que i sa takav / onakav
kakav oznaavaju identitet ili analogiju, dok reenice sa autre que i autrement que i sa drugi
/ drugaiji nego (to) i drugaije nego (to) oznaavaju alteritet ili razliku, ali i kvantitativnu
razliku koja se tumai kao intenzivna superiornost.
324
Ljubica Vlahovi
. XXXV (2010)
Annual Review of the Faculty of Philosophy, Novi Sad. Volume XXXV (2010)
vomil@neobee.net
jasmina@ff.uns.ac.rs
UDK 811.163.41367.4
811.163.4137
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radova Instituta za strane jezike i knjievnosti. Sveska 4. 339-347.
(O)() 333
, (1989).
. :
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Pri, Tvrtko. (2008). Semantika i pragmatika rei. Novi Sad: Zmaj.
, (2007). . . : .
Stojii, Violeta (2009). Kolokacije u knjievnom prevoenju sa srpskog jezika na
engleski (neobjavljena doktorska disertacija odbranjena na Filozofskom
fakultetu u Novom Sadu).
Hlebec, Boris (1998). Connect Your Words. Beograd: Trebnik.
, (2008). . . :
: 65-79.
334
. XXXV (2010)
Annual Review of the Faculty of Philosophy, Novi Sad. Volume XXXV (2010)
Biljana Radi-Bojani
radic.bojanic@gmail.com
UDK 371.3::811.111
Originalni nauni rad
1. UVOD
Kognitivna lingvistika vidi jezik ne kao autonomnu i odvojenu kognitivnu
sposobnost, nego polazi od ideje da znanje jezika nastaje iz upotrebe jezika. Jeziko
znanje veoma je slino drugim pojmovnim strukturama, a jezika sposobnost samo
je jedna od ljudskih kognitivnih sposobnosti, koje u osnovi i ne moraju da imaju veze
sa jezikom (Croft i Cruse 2004: 1-2). Cilj kognitivne lingvistike nije da jezik sagleda
izolovano, nego kao deo ukupnih ovekovih kognitivnih sposobnosti; a te sposobnosti podjednako predstavljaju osnovu i analokog miljenja, imaginativnih procesa
i organizacije percepcije (Klikovac 2000: 13). U ovom pristupu veoma je znaajno
to kako ljudi doivljavaju svet oko sebe i nain na koji ga percipiraju i konceptualizuju. Stoga je jedan od bitnih jezikih aspekata iskustveni, jer govornicima iskustvo
pomae da se uhvate u kotac sa novim pojavama, stvarima ili dogaajima. Iz ovoga
1
Ovaj rad se zasniva na delu etvrtog poglavlja autorkine doktorske disertacije Primena pojmovne metafore
u usvajanju vokabulara engleskog jezika kao stranog, odbranjene pred komisijom prof. dr Predrag Novakog
(mentor), doc. dr Gordana Petrii, doc. dr Katarina Rasuli, dana 8. 10. 2010. na Filozofskom fakultetu u
Novom Sadu.
Autorka je zahvalna recenzentu na veoma korisnim sugestijama koje su nesumnjivo doprinele kvalitetu rada.
336
Biljana Radi-Bojani
[t]he concepts we have access to and the nature of the reality we think about are a function of our embodiment: we can only talk about what we can perceive and conceive, and the things that we can perceive and
conceive derive from embodied experience. From this point of view, the human mind must bear the imprint
of embodied experience.
338
Biljana Radi-Bojani
Metafora je prvi put na ovaj nain definisana u knjizi Lakoffa i Johnsona Metaphors We Live By (1980), to je bila prekretnica u jezikom istraivanju i analizi. Od
izuzetnog znaaja je injenica da se od tada metafora vie ne vidi kao stilska figura,
ve se posmatra kao jedna od najosnovnijih pojava zbog koje miljenje i jezik jesu iskljuivo metaforike prirode, budui da se pojmovi o kojima je re ne mogu razumeti
na doslovan nain. [...] Tako je metafora pre svega stvar miljenja i delovanja, a tek
sekundarno stvar jezika odakle i termin pojmovna metafora, (Klikovac 2000: 34).
Primer kojim Lakoff i Johnson zapoinju svoju knjigu je metafora RASPRAVA
JE RAT (ARGUMENT IS WAR), pokuavajui da ilustruju do kog stepena metafora proima
svakodnevne izraze odraavajui u jeziku i samo miljenje o RASPRAVI.3 Na taj nain
oni pokazuju da se, iako nije posredi fiziki sukob, rasprava konceptualizuje i u jeziku izraava pomou pojma RATA. Tako se rasprava vidi kao verbalna bitka, gde osobu
sa kojom se svaamo doivljavamo kao protivnika, gde napadamo tue argumente,
pripremamo strategije i na kraju dobijemo ili izgubimo. Osim ove metafore, u jeziku
postoji jo mnogo drugih slinih primera koji ilustruju sutinsku metaforiku prirodu
miljenja i jezika. Drugim reima, metafora je mehanizam na osnovu kojeg jedan
pojam razumemo pomou nekog drugog, iskustveno blieg pojma, pri emu su iskustveno blii pojmovi veoma esto konkretni, a iskustveno dalji pojmovi apstraktni.
Osobine iskustveno blieg pojma preslikavaju se na osobine iskustveno udaljenijeg
pojma, ime se govornicima datog jezika olakava razumevanje nepoznatih, novih
ili apstraktnih kategorija i pojmova. Ovaj prenos naeg iskustva sa dobro poznatim
predmetima i dogaajima je jo bitniji kad su u pitanju apstraktne kategorije kao to
su emocije (Ungerer i Schmid 1996: xii),4 a ljudsko iskustvo vezano za konkretne
dogaaje i deavanja u svetu pomae da se ba te apstraktne kategorije lake razumeju, shvate i izraze u jeziku.
Sama teorija pojmovne metafore veoma je sloena, a metafora kao njen
osnovni konstrukt sastoji se od nekoliko sutinskih pojmova koje je potrebno definisati i objasniti. Metafora se sastoji od izvornog domena (eng. source domain) i
ciljnog domena (eng. target domain), pri emu je izvorni domen konkretniji, iskustveno blii i esto povezan sa fizikim iskustvom, a ciljni domen je iskustveno dalji
i apstraktniji (Lakoff i Johnson 1980). Ako se kao primer uzme metafora RASPRAVA JE
RAT, onda je izvorni domen RAT, a ciljni RASPRAVA. Povezivanje odreenog izvornog
domena sa odreenim ciljnim domenom motivisano je iskustvom, tj. utelovljenim
iskustvom, pa se u ovom sluaju kretanje vidi kao jedna vrsta dogaaja.
Pored ovoga, vano je istai da se jedan izvorni domen moe primeniti na
nekoliko ciljnih domena, kao i da se jedan ciljni domen moe povezati sa nekoliko
3
U ovih primerima vidi se povezanost pojma rasprave i pojma rata: He attacked every weak point in my argument. [Napao je svaku slabu taku u mom argumentu.] Ive never won an argument with him. [Nikad nisam
pobedila u svai sa njim.] (Lakoff i Johnson 1980: 4)
This transfer of our experience of well-known objects and events is even more important where abstract
categories like emotions are involved.
LOVE
[i]f the conceptual system that governs how we experience the world, how we think, and how we act is
partly metaphorical, then the (conceptual) metaphors must be realized not only in language but also in many
other areas of human experience.
340
Biljana Radi-Bojani
Primer iz intervjua, obavljenog za potrebe istraivanja za autorkinu doktorsku disertaciju, pokazuje kako
studentkinja analizira nepoznat izraz na koji je naila tokom izrade zadatka na testu:
Studenkinja: Hotel in the heart of the city. Pa uglavnom srce neega je centar neega pa, znai u sredini, u
centru grada. Tako nekako.
Autorka: Zato je srce neega centar neega?
Studenkinja: Zato? Pa zato to je moda nama, kako ljudski organizam, znai, srce je centar, srce ono to sve
pokree. to je sutina.
Autorka: Dobro.
Studenkinja: Pa onda kao, verovatno i mi kod jezika koristimo tako neke primere. Recimo zato mi nazivamo
srce grada, zato to je kao i kod nas srce isto ima takvu ulogu pa kao tako neto.
(Radi-Bojani 2010: 163).
342
Biljana Radi-Bojani
Iz reenog se vidi da pred uenicima stoji veoma zahtevan zadatak ije sprovoenje u nastavi podrazumeva povratak na teorijska znanja o prirodi i funkcionisanju pojmovne metafore. Ono to nastavnici moraju da imaju na umu kada u nastavni
proces uvode pojmovnu metaforu i kao nain organizacije leksikona i kao metod
uenja novih jedinica vokabulara su sledea saznanja:
(1) kognitivna lingvistika ne prouava jezik samo sa ciljem da bi ga opisala, nego da
bi otkrila konceptualne procese na osnovu kojih jezik nastaje;
(2) pojmovna metafora je mehanizam koji otkriva kako se gramatika i apstraktna
znaenja konstruiu u jeziku, nain da se otkrije kako um strukturie znaenje;
(3) ono to je izvornom govorniku konvencionalna metafora, ueniku stranog jezika
predstavlja novu metaforu, jer je ranije nije sreo;
(4) mnoge polisemne rei ee se javljaju u prenesenim znaenjima nego u osnovnim, pa, ako se uenicima stranog jezika skrene panja na osnovna znaenja polisemnih rei, moe se poveati njihovo razumevanje jedinica vokabulara;
(5) velik deo metaforikih izraza je motivisan i moe se sistematski povezati sa ogranienim brojem izvornih domena i metaforikih tema;
(6) svest o metafori moe uenicima da objasni ustrojstvo stranog jezika kao sinhronog konstrukta, jer razumevanje pojmovnog jezgra jezika uenike stavlja u kontakt
sa mreom shematizacija iz kojih su se formirala znaenja u jeziku.
Navedena saznanja su svakako neto sa ime se nastavnici stranog jezika
moraju upoznati kroz seminare i struna usavravanja, ali se postavlja pitanje koliko
toga je u stvari potrebno preneti uenicima. Meu istraivaima koji su analizirali
ovo polje (Boers 2000; Holme 2004; Lazar 1996; Littlemore 2001; Littlemore 2004;
Littlemore i Low 2006) postoji generalna saglasnost da se osnovni postupak u procesu nastave svodi na podizanje svesti o metafori tako to e se uenicima7 skrenuti
panja da metafore proimaju jezik, tj. da nisu samo poetski mehanizam. Pitanje je
koliko teorijske osnove treba ponuditi uenicima da bi se poboljalo razumevanje,
a da se oni ne zague informacijama. Littlemore (2004) je istraivala dva pristupa
ovom problemu: u prvom je uenicima objanjena teorija, navedene su nekolike dominantne metafore i onda su kontekstualizovane metafore tumaene, dok su u drugom pristupu uenici analizirali direktno metafore u kontekstu, radili zadatke koji se
na njih naslanjaju, razgovarali o njima, ali se ukljuivalo malo teorije, jer su se uenici oslanjali na indukciju. Littlemore (2004) je ustanovila da su uenici koji su sudelovali u eksperimentu gde je pristup bio zasnovan na izlaganju teorije primeivali
uglavnom retorike metafore u daljem radu, a ostale, mnogo svakodnevnije metafore
su prevideli. Nasuprot tome, drugi pristup, zasnovan na indukciji, pokazao je da su
uenici postigli mnogo vei uspeh i dublje razumevanje materije.
Pomenuti principi i nain rada u uionici uglavnom se odnose na tinejdere i odrasle uenike, poto je kod
njih razvijen sistem apstraktnog miljenja, dok kod dece to nije sluaj, te se u radu sa njima iz tog razloga
ovakav pristup vokabularu ne moe primeniti.
344
Biljana Radi-Bojani
346
Biljana Radi-Bojani
Biljana Radi-Bojani
THEORETICAL AND APPLIED ASPECTS OF CONCEPTUAL METAPHOR
Summary
The paper offers a review of the main tenets of conceptual metaphor, one of theoretical constructs of cognitive linguistics, with an emphasis on the ever-present connection
of theoretical and applied linguistics. At the beginning of the paper conceptual metaphor is
defined and illustrated within the wider framework of cognitive linguistics. Roots of metaphor
are accentuated from two different perspectives: (1) human experience, which is embodied in
human conceptual system, is linguistically realized in various metaphorical expressions; (2)
a historical, etymological, perspective reveals the origins of these metaphorical expressions
and explains the existence of polysemy on a synchronic plane. These two angles of analysis
are of extreme importance because they shed light both on how metaphoric transfer works
(mapping of a source domain into target domains) and how different, yet similar meanings
of one lexical unit are conceptually and etymologically connected. The final part of the paper
stresses the potentials of conceptual metaphor in language teaching as a large number of researchers have proven that, if foreign language students are exposed to metaphoric input, their
vocabulary knowledge increases as well as their ability to think metaphorically. Consequently,
both students productive and receptive linguistic skills improve as they become increasingly
immersed in the foreign language conceptual system, which may ultimately lead to better
intercultural understanding.
Key words: cognitive linguistics, applied linguistics, conceptual metaphor, polysemy, vocabulary, metaphorical thinking.
. XXXV (2010)
Annual Review of the Faculty of Philosophy, Novi Sad. Volume XXXV (2010)
A
ablatesic@yahoo.it
UDK 811.131.137
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- (. oikos ,
nomos ).
- , . Pagare salato, prezzi salati
, .
(sale) ,
.
,
. . salary, . salario, .
salaire, . salario, . salrio, . salaris, ...
,
.
, sale pepe,
.
5. -
a buon mercato
pagare salato
economico
prezzo pepato
4.
,
, , , .
, , .
,
, .
,
, . .
,
, e
. . -
357
,
. , , (prezzi ridicoli)
(non costoso).
,
, .
, -,
,
. , , .
358
Aleksandra Blatei
THE CONCEPTS CHEAP AND EXPENSIVE IN ITALIAN LANGUAGE
Summary
In this paper the concepts cheap and expensive in Italian language have been
analyzed according to the principles of the cognitive linguistics. The impact of the physical
experience and the mental representations of the indicated terms have been taken into consideration, as well as the ways of the connecting mind and language. The conceptual understanding of the meaning of the terms includes the ability of the mental representations through
cognitive or expressive images in which a person does not take a static position. The physical
experience alone is not sufficient for a complete linguistic conceptualization. It requires social
and cultural elements and linguistic usage in order to bring complete sense about.
Key words: cognitive linguistics, semantics, sociolinguistics, philosophy of mind,
metaphor, concept of embodiment, linguistic usage
. XXXV (2010)
Annual Review of the Faculty of Philosophy, Novi Sad. Volume XXXV (2010)
ljiljan@neobee.net
811.163.41373
821.163.41.09 Leskovac M.
1
, .
: , , , , .
,2
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( 1996: 251). . ,
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1
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1904, 23. 12. 1990. (. 13).
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360
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20 ,
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, . (1958). , (), .
(1967-1969), 13, :
. : , (1971-1976), 46, :
( , ).
, (2006). 6: . :
, ,
, III, , 2,
, .
368
Bugarski, Ranko (1996). Uvod u optu lingvistiku. Sabrana dela, Knjiga 6, igoja
XX vek, Beograd.
-, (1997).
. .
, (1990). . . 28/45: 288294.
Zgusta, Ladislav (1991). Prirunik leksikografije. Sarajevo: Svjetlost.
, (1991). . .
, (2002).
. . XLIX/12: 927.
(1987). . (639640).
Radovanovi, Milorad (1986). Sociolingvistika, Knjievna zajednica Novog Sada
Dnevnik Novi Sad, Novi Sad.
(1968). . 1: ,
. : . : .
, (1995). ,
I,II,III IV . ,.
, (2002). . , .
, (2002). . . 3949.
, , , .
ipka, Danko (2006). Osnovi leksikologije i srodnih disciplina. Novi Sad: Matica
srpska.
Ljiljana Nedeljkov
REMARQUES SUR LA LANGUE DU PRFACE DE LANTHOLOGIE BECARAC
Rsum
Daprs lanalyse du lexique utilis dans le prface de lanthologie des becaracs
de Mladen Leskovac nous montrerons laspect lexique de lexpression linguistique de Mladen
Leskovac ainsi que la place que prend ce lexique dans le corpus du Dictionnaire de Matica
srpska.
Mots cls: langue, lexique, cjorpus lexicographique, style littraire et scientifique,
Mladen Leskovac
. XXXV (2010)
Annual Review of the Faculty of Philosophy, Novi Sad. Volume XXXV (2010)
strbacsn@eunet.rs
UDK 811.163.41374
1
,
, .
o.
: , , , , .
1. , ,
.
, , 2 ,
je
.
.
2. , , , . . (1991: 133134)
, . .
,
, (
2002: 35).3
1
2
3
: ,
,
.
. : 2006.
.
.
370
. (1982) , , , ,
. . (1991)
(
, , ), . . (1997)
. , . (1967) . -
1410 .
3. .
3.1. . .
(Helbig, Schenkel 1969) . . (Engel, Schumacher
1976), . , , fragen abgeben.
. .
fragen
I. fragen2 (3)
II. fragen Sn, Sa/pS/NSob, w,
III. Sn
1. Hum (Mein Freund fragt den Lehrer.)
2. Abstr (als Hum) (Die Direktion fragt ihn, ob er die Aufgabe
bernehmen knne.)
Sa
1. Hum (Mein Freund fragt den Lehrer.)
2. Abstr (als Hum) (Er fragt die Betriebsleitung nach ihrer
Meinung.)
p= nach, um
Wenn p = nach,
pSd
keine Selektionsbeschrnkungen (Er fragt mich nach dem
Freund, nach dem Hund, nach der Betriebsleitung, nach dem
Schreibtisch nach der Konzeption, nach dem Schwimmen.)
Wenn p = um,
pSa
Abstr (-Art) (Er fragt [ihn] um Erlaubnis.)
NS
Act (Er fragt mich [danach], ob ich komme / wann ich komme.)
. .
abgeben
abgeben
O1
PO
abgeben
O1
P1
abgeben
abgeben (an - Akk)
O1 (3
O1 (4
P1
P1
O1 (4
P1
abgeben
abgeben (gegen - Akk) O1 (4
P1
371
372
, .
.
analyzovat , , :
analyzovatimpf
ACT1 PAT4, zda, cont
podrobn zkoumat; rozebrat; p.: ekonomov analyzuj vvoj trhu ya posledn rok
rfl: cor4, pass rcp: ACT-PAT class: mental action
3.3.
. . (Ninkov, Sokolov
1998).5 - . , . , . . .
. ,
, .6 , (.
viest V: Sn VF ADVdir) ,
. , ,
. ,
.
3.4. . (Polaski 1976)
300 .
. ,
, chyli :
625 ,
. (J. Mistrk: Frekvenn slovnik sloveniny) 1969. .
, ,
.
. , , .
,
, , , , , , , ., , , . (Ninkov, Sokolov
1998). 1. , ,
, , . ; 2.
( , , .); 3. : , -, - . (Ninkov, Sokolov 1998).
373
Wrterbuch zur
Valenz und Distribution deutscher Verben, Slovesa pro praxi (Svozilov, Prouzov,
Jirsov 1997) Valenn slovnk slovensch slovies (Ninkov, Sokolov 1998).
: , , , . : (
) (
, ) . :
) , , ) , , , ) ) (ele 2008: 11).
. , .
374
9 , . .
( ,
: + 2 / . + + 2, + + ).
- (
: = , ; 2 = + 2, + ),
(= ; 1= ).
3.7. . (1997b)
Morphosyntactic Valency Classes of English Verbs (Budai 1997a)
. 15000 , :
ABIDE
N1 * N2
N1 * <X
N1 * <[to V]
N1 * (<)[V -ing]
N1 * [N1 V-ing] (N1 = Poss/Acc)
ABIDE by
N1 * by N2
3.7. , , .
. . (1969) 800 ,
25%
.
, .
. . , . . . . (1981)
, . ,
1219
. , .
. . (1988), , , , , , ,
9
375
( )
( ).
( 2003) , , , , , ,
.
- .
.
. . (2006) ,
, . .
43 .
,
.
. (1982). , , , , .
, ,
, .
3.8.
.
. (1989). ,
,
, ( 1986).
: , , , ( 1986: 12).10 780
,
. 10
- ( . . ),
.
376
-
. , ,
.
(, , 1992) , , ,
, , . , , ,
. ,
(. , , .; . 1. ~ ,
~ , , 2. ~ , ~ , 3. :
).
4.
. .
, , . ,
. - ,
.
, , ,
, , .
,
. , ,
.
, , , .
.
.
377
, .
, (1967). . : .
, . ., (1982). . . .
, . . (1984). . . :
.
Budai, Lszlo (1997a). Morphosyntactic Valency Classes of English Verbs. Veszprm:
University of Veszprm.
Budai, L. (1997b). A Morphosyntactic Valency Dictionary of English Verbs. Veszprm:
University of Veszprm.
, , , (1992). -
. Szeb-magyar igei vonzatok sztra. :
.
, (1984). . . : . 4250.
-, (2004).
. : .
, (1997). .
. 26/2: 2533.
, (1969).
. . : .
, (2007). . : .
, (1991). . . /2: 191199.
Engel, Ulrich, Helmut Schumacher (1976). Kleines Valenzlexikon deutcher Verben.
Tbingen: TBL Verlag Gunter Narr.
abokrtsk, Zdennek (2005). Valency Lexicon of Czech Verb. Prague: Institute
of Formal and Applied Linguistics, Faculty of Mathematics and Physucs,
Charles University.
378
379
Helbig, Gerhard, Wolfgang Schenkel (1969). Wrterbuch zur Valenz und Distribution
deutscher Verben. Leipyig: Veb bibliographisces Institut.
, (2006). . :
.
, (2005). . . XXXVI/1-4: 7685.
, . (2005).
. . 36: 173196.
Gordana trbac
GRAMMATICAL DICTIONARIES IN LEXICOGRAPHY
Summary
Different dictionaries of rection and valency are presented in this paper and their
importance is pointed out. These dictionaries mostly describe the valency and rection of verbs
as the most important constituent of sentence.
They enable to create correct sentences and can be very useful in theory and practice.
Key words: grammatical dictionaries, rection, valency, grammar, lexicon.
380
. XXXV (2010)
Annual Review of the Faculty of Philosophy, Novi Sad. Volume XXXV (2010)
gordanastasni@yahoo.com
UDK 811.163.41373.611
.
: ,
, , - , - , -
( 1).
: , - ,
, .
1. . 2003. - , : 1: , 2006. :
, , ,
-
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,
.
, : , ,
- (, )
() ( 2003: 136),
: + -.
, , 2
+ (-): -, -.
,
1
1 2.
382
, .
- -.
: ( + - / + -);
( + - / + -); ( + - / + -) ( 2003: 122).
2. .
,
- .
. , - , ()
(),
. ,
- (
), .
: )
; ) ; )
- (
2007: 110).
. , (, , ):
. , . ,
-
,
, ( 1964: 403). ,
. ,
, ,
, ,
: .2 , ,
- ,
- .
2
. ( 2003: 126).
383
. :
- 3,
()
() . , ,
,
.4 , 133 ().
, , , ,
, (- 2004: 9).
, .5
, n- , ( )
. ,
, ,
.
.
(- 2004: 131).
, , -
.
, :
: +
.6 ,
.
:
+ ( ), . - , -
...
:
, 3
4
.
() :
(Bari 1979: 223).
, , .
,
(Bari 1979: 222).
,
( : ; : ; : ).
384
, .
- + -, , , nomina agentis,
: , . -,
-, -...,
.
( : ),
.
: ,
, ,
.
, , , .
,
, , .
.
: -, () . , (). . (, ). 7
0
1<0
0
1
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2
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1<0 -
2<1 -
2<1 -
3<2 -, ,
3
4
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3<2 -7
4<3 -
-. 1, : 0 ,
21<11 -, 11<0 -, 12<0 -, 22<12 -, 31<22 -,
13<0 -, 23<12 -, 14<0 -, 11<12 -, 12<0 -, 21< 21 -, 21<11 -, 13<0 - ,
14<0 -.
7
-, -, - ( ), :
.
385
, , (1 2003: 287).
. . .8
. ,
-: , ,
,
, ,
( 2007: 212).
, , -
. . .
() . ;
, ... .
0 =
1 =
2 =
1<0 - <
2<1 - <
1,2,3
1998. .
. ,
, . 45 35 ,
.
, , ( 2007: 212).
386
0 9
1<0
2<1
11<0 -10
12<0 -11
21<11 -, , 12
Nomina
instrumentum
13<0 -
14< 0 -
15<0 -13
22<13 -14
Nomina loci
16<0 -
17 <0 -, ,
18<0 -, ,
19<0 - ()15
110 <0 -
111 <0 -
112<0 -
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116<0 -
117<0 -
23<17 - ()
24<111 -
9 10 11 12 13 14 15
:
,
.
10
11
12
13
14
15
: :
( ) . 2. . 3. , . 4. , , ( ), .
, .
: tarsus.
-, , ( , , ).
, : . ( )
, . . ( ). . , .
. . -
: , , ( 2003: 210).
. .
() : , , (.) ,
, .
387
.
,
. , : < , < , < , : ( ), ,
.
, 16. , ,
( ) -. . ,
( 2007:
191). :
.
.17
--: 0 ; 1<0
( , );
2<1 ( ) .18
2.1. .
. -
.
- ,
: ( = ).
,
.
16
17
18
( )
( :
), ,
. . ,
( ).
. -,
, . : (
) (- 2004: 143).
-
: -, -, -, -, -, -, -,
- : -, -
. ,
: -, -, -
.
388
: - , , - (. , , . . ,
).
, , - ( ) .
. :
- nomen agentis , .
-, -, - . . .
-, -, - . . . ;
.
-, -, - . . . .
2.2. - .
- . , -- ( )
, , ( phoda gymnophiona). -
.
: - ,
.
, ,
.
--
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,
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. , ,
:
. - , , -- 1. .
, . . , . 2. , .
389
2.3. . . , , - , .
. -- (
) , ,
- , . - ( ).
, ---
, - .
, - (
).
3. .
.
, . (
). .19
, . ,
, , .
( + -) .
(-), .20
.
.
. :
+ -
+ -
+ -
+ -
19
20
( // + -)
, : ,
, , .
. . - (- 2002: 107).
390
4. . - , - .
, ,
,
.
(Babi 1986: 17).
, , , ,
, .
,
-,
- , , ,
, (- 2002: 11).
:
,
- . .
Babi, Stjepan (1986). Tvorba rijei u hrvatskom knjievnom jeziku, Nacrt za gramatiku, Globus-Zagreb: Jugoslovemska akademija znanosti i umjetnosti.
Bari, Eugenija i dr. (1979). Priruna gramatika hrvatskoga knjievnog jezika. kolska knjiga: Zagreb.
-, (2004).
. : .
- (2002). - . . : :
. 103-110.
, (2007). . : .
, (2003). . . .
391
, (1964). . : .
, (2007). . : ( ). : . : . 102-118.
-, , , (2003): , 1: . : , .
-, , , (2006): - , 2: ,
, , .
: , .
, I-III - , IV -VI .
Skok, Petar (1971-1973). Etimologijski rjenik hrvatskoga ili srpskoga jezika. I-IV.
Zagreb: Jugoslovenska akademija znanosti i umjetnosti.
Gordana tasni
SEMANTICAL-DERIVATIVE STATUS OF MOTIVATED LEXEMES
Summary
Semantical-derivational analyze demand to establish precise derivational status of
lexemes. At the same time, this is theoretical and practical problem. This paper offers some
derivational and semantical criteria to identify status of lexemes in the frame of derivational
nest. This problem is illustrated by examples from Semantic-Derivational Dictionary of Serbian language (Volume 1).
Key words: derivational status of lexemes, derivational nest, derivational meaning
of lexems, Serbian language.
392
. XXXV (2010)
Annual Review of the Faculty of Philosophy, Novi Sad. Volume XXXV (2010)
Gordana Risti
goca33@yahoo.de
UDK 811.112.2373.7:811.163
41373.7
Originalni nauni rad
Rad je nastao na osnovu autorove magistarske disertacije pod nazivom Poslovice u tekstu Novog Zavjeta
Martina Lutera i Vuka Stefanovia Karadia., odbranjene 2004.godine u Novom Sadu, a inae nije objavljena.
394
Gordana Risti
ak 800 jedinica,2 a Pfefer (Pfeffer 1975) pie da je oko 300-400 biblijskih poslovica
prisutno u jezicima evropskih naroda (germanskim i romanskim). Vredni pomena su
i zbirke na nemakom jeziku (Bchmann 1964; Krauss, 1993), odnosno radovi koji
se bave ovom problematikom (Weckmann 1984; Fldes 1990).
Biblijske poslovice u nemakom i srpskom jeziku nisu do sada bile predmet
kontrastivnog istraivanja. Ovakvo poreenje doprinelo bi osvetljavanju jo jednog
aspekta prouavanja poslovica, vrei kontrastivnu analizu teksta Novog zavjeta u
prevodu Martina Lutera i prevoda Vuka Stefanovia Karadia. Sama injenica da
jezik Biblije obiluje metaforama, poslovicama, sentencama bila je presudna za izbor
teme i kao takva izvestan je izazov za ovu vrstu istraivanja, a biblijske poslovice,
iako biblijske, i danas se upotrebljavaju u razliitim oblastima komunikacije. Polazni
jezik u ovom radu je nemaki a ciljni srpski jezik.
Korpus
U korpusu su zastupljene poslovice iz Novog zavjeta u prevodu Martina
Lutera3 i Vuka S. Karadia. Utvreni broj poslovica na tekstu Novog zavjeta je 88.
Treba naglasiti da se jedan odreen broj poslovica pojavljuje na nekoliko mesta, u
razliitim varijantama. Ova istraivanja nisu obuhvatila posebno klasifikaciju varijanti poslovica.
KLASIFIKACIJA POSLOVICA
Kontrastivna analiza podrazumeva lingvistiki postupak u kome se trai odgovor na pitanje koji elementi u sistemu jezika A odgovaraju elementima u jeziku B,
odnosno kako se sistematskim poreenjem dva ili vie jezika dolazi do eksplicitnih
slinosti i razlika izmeu opisa tih jezika. Kada su u pitanju jezika prouavanja, pod
pojmom ekvivalencija podrazumeva se priblina jednakost znaenja. Ekvivalentnim
se smatraju one konstrukcije koje se kao takve bar nekada javljaju pri prevoenju sa
jednog jezika na drugi ( orevi 1982, 57-77).
Na osnovu uoenih slinosti i razlika istraivani materijal moe se podeliti
na 3 grupe poslovica koje su numeriki razliito zastupljene:
1. poslovice sa potpunom ekvivalencijom
2. poslovice sa parcijalnom ekvivalencijom
3. poslovice sa tekstualnom ekvivalencijom
Poslovice sa potpunom ekvivalencijom
Prvu grupu ine poslovice sa potpunom formalnom i semantikom ekvivalencijom. To podrazumeva odsustvo razlika na svim nivoima, kako strukturno-formalnom, morfolokom tako i semantikom, to znai da se poslovice iz ove grupe
2
3
Grinberg je biblijske frazelogizme svrstao u 6 podgrupa, a utvreni broj poslovica i citata je 120.
Primeri su navedeni na ranonovovisokonemakom jeziku.
396
Gordana Risti
9
10
Termin preuzet od Radovanovia (Radovanovic, M. 1990: 53-77: Pod dekomponovanim predikatom smatrau ovde svaki dvolani predikat konstruisan po modelu Verbum (glagolska kopula ili semikopulativni glagol) + Nomen deverbativum, a sinonimian (komutabilan) sa semantiki ekvivalentnim jednolanim
predikatom (predstavljenim punoznanom glagolskom leksemom iz koje je izvedena deverbativna imenica
dvolanog predikata), npr. vri uticaj: utie.
398
Gordana Risti
18
U ovom sluaju neophodno je skrenuti panju na vanu injenicu: padene razlike ubrajaju se i u nominalne i u verbalne.
Nagomilavanje infinitiva inae nije karakteristino za savremeni srpski jezik, a ni mesto infinitiva nije strogo
odreeno, kao npr. u nemakom jeziku. Meutim, Ivi,M. (Ivi, M. 1997: 28-29) istie : Jedna od zajednikih
odlika Vukovog jezika i ostalih srpskih pisaca poetka XIX veka (to znai i onih slavjanoserpskih) jeste stavljanje glagolskih oblika, naroito oblika infinitiva, na kraj reenice. Vuk npr. pie Nije htio da se stara svoje vojnike
osloboditi i u skupu ih zadrati; itd....Ova se osobina u tako velikoj meri razvila svakako pod uticajem nemakog
jezika. Knjievni uzori naih pisaca toga vremena bili su pisani na nemakom, te je sasvim prirodno pretpostaviti
da su se neke odlike sintaksiko-stilske prirode javile kod nas po ugledu na nemaki jezik.
Pasiv je zastupljen u jeziku A dok je u jeziku B uvek aktiv. Nije zabeleen nijedan primer na tekstu korpusa
sa aktivom u jeziku A, a pasivom u jeziku B.
400
Gordana Risti
/Ein jglicher bawm/ der nicht gute frchte bringet/ wird abgehauen/ und ins
fewer geworfen./ Svako dakle drvo koje ne raa roda dobra, sijeku i u oganj
bacaju.
402
Gordana Risti
KORPUS
Karadi,V (1847). Novi Zavjet Gospoda naega Isusa Hrista. Preveo Vuk Stefanovi
Karadi. U Beu u tampariji Jermenskog manastira,Prosveta. Beograd.
Luther, M. Reproduktion nach: Biblia/das ist/die gantze Heilige Schrift Deudsch.
Faksimile Ausgabe der ersten vollstndigen Lutherbibel von 1534 in zwei
Bnden, nach dem in der Universitts-Bibliothek zu Leipzig befindlichen
Original. 2. Auflage. Leipzig: Foersters Verlag 1935.
Gordana Risti
CONTRASTIVE ANALYSIS OF GERMAN AND SERBIAN PROVERBS IN THE TEXT
OF THE NEW TESTAMENT MARTIN LUTHER AND VUK STEFANOVIC KARADZIC
Summary
In this paper we analyze of Germany and Serbian proverbs from the New Testament. The aim of this contrastive analysis is a description of similarities and differences in
both language researched corpus. Thereby, they established the equivalence of three types:
full, partial and textual equivalence. Differences with a marked partial equivalence are most
represented and classified into three subgroups: structural and formal, lexical and morphological differences.
Key words: contrastive analysis, full, partial and textual equivalence, structural and
formal, lexical andmorphological differences.
. XXXV (2010)
Annual Review of the Faculty of Philosophy, Novi Sad. Volume XXXV (2010)
Utasi Csilla
csilla.utasi@gmail.com
UDK 8011.672=112.02=511.141
Originalni nauni rad
A munka1930-as modern kzreadja, Dzsi Lajos utszavban sszegezte a szerz kiltrl keletkezett hipotziseket: Toldy Ferenc szerint valszn, hogy Heltai Gspr maga fordtotta a kolozsvri kiadst, Ferenczi Zoltn
elfogadta e nzetet, a kiadst azonban szerinte Heltai fia adta ki apja halla utn, Kanyar Zoltn nem tartotta
Heltai szerzsgt valsznek, vagy Heltai fit, vagy a nyomda valamelyik lektort lltotta a fordtnak. Ipolyi
megemlti, hogy Bod Pter Athensnak egyik pldnyban a nvtelen szerzkrl szl cikkben kzrssal oda
van rva Valkai Andrs neve (DZSI Lajos 1930: 43-44), Bornemisza Pter is flmerlt fordtknt, m Postilli
1578-ban megjelent IV. rszben kt helyen is r Markalfrl: Mi mulatsgnak tartjuk az histrikat, kiket Markolff sibsgrl rtak, avagy amaz Tragar Balsrl (839b); a msik szveghely az asztali beszlgetsek szbeli
hagyomnyt rgzti: a nagy uraknak asztaloknl istenfl rtelmes emberek szavnak nincs helye. Hanem mint
rgen Markolff volt s Trgr Bals, valamit mondnak, mzbl desb. (862.) (DZSI Lajos 1930: 44)
404
Utasi Csilla
srt sok klnb-klnfle dolgokat rtanak, hogy az embereknek lgyen eltte mintegy
tkr mindenha az egyebeknek pldja. Az emberi let rvidsgt s gyors almenetelt
meggondolva nmely szerzk satyrkat kes dorglssal rtanak, nmelyek comdikat,
avagy tragdikat, sokan histrikat is szedtek szve s szerzettek, csak azrt mindezeket,
hogy a nyomorult s gyarl termszet teljessggel az gorombasgban s vtekben el ne
merljn. A fordt szerint az Markalfnak jtkos s trfs cselekedetei-t olyan mddal kell megrteni, hogy mikppen az blcs orvos nha az mregbl is orvossgot csinl,
azonkppen k is ebbl az trfbl szp haszonra val tanusgokat notljanak, kivltkppen ollyankor, mikor az egybfle szorgalmatos gondtl megmenekedik. Affektv hatsa
miatt az irodalom Kolozsvrott is veszlyesnek minslt. Az olvasst a ttlensg idejre
korltoztk, mint a nmetorszgi vrosokban. A fordt, a tnyleges egyhzi vagy vilgi
hatalombl nem rszesl nmet polgri szerzkhz hasonlan nem tartja olvasit rettnek az nll rtelmezsre, a paratextusokban eligaztsukra vllalkozik. A szerzknek
s kiadknak a kznsg tbaigaztsra formlt ignye, hogy maguk is a hatalmi tudat
norminak megfelel mdon kvntk a befogadst szablyozni, annak bizonytka, a
vrosok letvilgban a vezetk az llami ideolgitl eltr nzetek megfogalmazst
nem tartottk kvnatosnak (KLEINSCHMIDT, Erich 1982: 129-131)2.
A forrsm, a kzismert, gazdag hagyomnytrtnet, teljes alakjban kt
egysgbl, a vetekeds- s a trufa-rszbl flpl, a bibliai Salamon kirly s
a rt, m kesszl Markalf szprbajt s Markalfnak a kirlyt rszed cseleit elbeszl munka flteheten klerikusi krnyezetben a 12. szzadban keletkezett.
Az rott szveghagyomnyt megelz, az anyanyelvsgre is kiterjed szbeli tradcit a szereplkre, szlsaikra s az elbeszls jellegzetes helyzeteire trtnt
utalsok igazoljk.3
A Dialogus Salamonis et Marcolfis cmen szerepl przamnek nem maradtak fnn a 15. szzad elttrl kziratai. Nem valszn, hogy az esetleges rgebbi
2
Az ismeretlen fordt vgl topikus fordulattal, a befogads erklcsi diszpozcijt is hangslyozva arra
inti olvasjt, hogy nemcsak nevets cljbl rattatnak ezek a blcs emberektl, hanem fkppen hogy
mint a szorgalmas mhecske megltogatja mind a j s gonosz fveket s mindenikrl, azmi j, levszi, s
haza viszi: azonkppen ezek is azrt adattanak elnkbe, hogy jt vegynk belle. Ez penig az j erklcs s
termszet emberektl lehet. (DZSI Lajos 1930: 4)
Sabine Griese monogrfija fggelkben sszegyjti a mre val hivatkozsokat, anlkl azonban, hogy a
hasznlatokat az elklnt regisztrlson tl megrn. A munkra tbbek kztt az albbi szerzk utalnak:
Notker Labeo (952-1022) a 118. zsoltr (118,85) versnek parafrzisban emlti az Isten trvnyvel ellenkez fabulkat mesl gonoszokat. Effle fabulkat fecsegnek hin az eretnekek s a vilgi szerzk: nem
ms ez, mint amikor Marcholfus flhorgad Salamon pldabeszdei ellen. A trubadr Raimbat dAurenga
(1144-1173 tjn) Apres mon vers (V. 13-18) cm nekben az t szomorbl vidmm tev hlgy beszdt
a Salamo s Marcolshoz hasonltja, azt is hozzteszi azonban, hogy aki ilyen csalka kpekre hagyatkozik,
az a magasbl knnyen a porba zuhan. Egy 12. szzadi, a klerikusok pompakedvelse ellen rt nek szerzje
szerint a papok fnyzst mg az a szerz sem volna kpes ecsetelni, aki oly blcs volna, mint Salamon,
s oly kesszl, mint Marcun. Guido de Bazoches (megh. 1203) Apologia contra maledicos cm mvben letvitelt a macska-trufra hivatkozva vdelmezi. Thomas Murner (1475 tjn- 1537) Die Guchmatt
(XXXVII. fejezet) cm szatrjban szitoksz rtk kznvknt alkalmazza a markalf kifejezst. (GRIESE,
Sabine 1999: 301-302, 308)
A tredkesen fnnmaradt editio princeps 1483 tjn Nrnbergben jelent meg, Max Ayrer officnjban. A
munka az augsburgi Johannes Schobssernl kibocstott vltozatnak tredkben 15 metszetet is tartalmaz.
Az els pen fnnmaradt felnmet edcit 1483-ban, Konrad Kacheloffen lipcsei mhelyben bocstotta
ki. Tovbbi felnmet kiadsok Hans Zainer ulmi s Weygand Han frankfurti mhelyben lttak napvilgot
(RCKE, Werner 1987: 87-88).
A rmbe szedett, a 14. szzad msodik felbl szrmaz Spruchgedicht, Gregor Hayden 15. szzadi, lovagi
krnyezetben keletkezett nmet versvltozata, valamint a hagyomny msik ghoz tartoz, a vetekedsrszt
nem tartalmaz latin s nmet verses elbeszlsek (Markalf ezekben Salamon fivre vagy segtje, ktszer
visszahozza, majd kegyetlenl megbnteti a pogny fejedelemmel megszk, htlen kirlynt, Salmt) tartoznak ebbe a csoportba. Markalf trufi s rvidtett formban Salamonnal folytatott szprbaja is Hans Folz
s Hans Sachs farsangi jtkainak alapjv is vltak.
A nmet szakirodalom megllaptja, hogy mg a przam iskolai hasznlatnak kziratos hagyomnya fknt a dl-nmetorszgi s osztrk rgira szortkozott, addig nyomtatsban az szaki, alnmet terleten jelent meg a 15. szzadban, Klnben, Antwerpenben, Deventerben s Lipcsben, Dl-Nmetorszgban csupn
elvtve, a 15. szzadban Strasbourg-ban s Speyerben, 1500 utn Nrnbergben s Landshutban. A 15. szzad
nyolcvanas s kilencvenes veiben Deventerben kt knyvkiad, Pafraet s Breda is rendszeresen kiadta
iskolai s egyetemi hallgatk hasznlatra a m Collationes cm vltozatt ( GRIESE, Sabine 1999: 65)
Vala penig Markalf rvid llapat ember, igen temrdek s potrohos; feje nki nagy s potrohos; szles
homloka; piros s smrgs orcja; flei felette szrsek s el-alfggenek vala; szemei nagyok s cspsok;
ajakai is nagyok s temrdekek felette, mint egy lnak; szaklla rt s igen illatos, mint a kecsknek; kezei
406
Utasi Csilla
ellenre Markalf igen kesszl vala. Rknyszerti Salamont genealgija elmondsra, a kirly Mt evangliumnak kezdett megidz mdon, mltsga tudatban elsorolja seit, Markalf pedig sajt s felesge leszrmazsnak ismertetsvel
vlaszol. A tizenkt Parasztsgnak nemzetsgbl szrmaz, a kirlyi eldkhoz
hasonlan prba lltott fikat nemz atyk, Rusticus, Rusta, Rustoma, Rustus, Rusticella, Tarcus, Tarkol, Farsi, Farsin, Markul, Marquel, Marqua nevek a paraszti, a
dmoni s a szkatologikus jelleget hangslyozzk. Salamon indtvnyozza a szprbajt a genealgija vgn nmagt follusknt, bolondknt megnevez Markalfnak.
A kzpkori eszttika szellemben a visszataszt klsnek alig felelhet meg
kes s ernyes bels. Salamon prbra akarja tenni s legyzni Markalfot: Hallottam, hogy igen bv beszd s cscsog ravasz lnok paraszt ember volnl. (DZSI
Lajos 1930: 6). Sabine Griese dolgozatban kt vonatkozst vizsgl, egyrszt azt,
hogy Markalf hogyan bizonytja eszessgt a kirly s annak krnyezete eltt, msrszt azt, hogy a szprbajban hogyan kpzdik meg a komikum minsge. A nevets
a szerzn szerint a szakrlis (bibliai) szveg s a r vlaszul rkez, az autoritst
nlklz pldabeszdek sszetkzse nyomn keletkezik (GRIESE Sabine 2005:
143). Salamon a Pldabeszdek, a Prdiktor Knyvnek s a Kirlyok Knyvnek
helyeit idzi nnn hatalma kinyilvntsra, Markalf pedig a blcsessgknyvek
lltsaival megegyez nyelvi szerkezet s intonls kijelentsekkel vlaszol, Salamon lltsaival prhuzamos kijelentseit azonban verblis-parodisztikus mdon
htkznapi, alpri s szkatologikus kontextusban veti fl (GRIESE, Sabine 2005:
148-150).
Werner Rcke szerint Markalf Salamonnak az ordo-rendet vdelmez
blcsessgvel a proverbiumok tapasztalatt lltja szembe. A kzmondsokban,
ahogyan Andr Jolles meghatrozst idzve Rcke megllaptja, a kzismert, a
kollektv tuds kap rvnyes, rvid, tall nyelvi formt. A proverbiumok elzetes
tapasztalatok utlagos megfogalmazsai, nem elremutat letszablyok, nem a helyes magatarts mrci, hanem a kikerlhetetlen lefolysmenetekbe engednek bepillantst. Jolles az anyag gyakori erklcstelensgt az empria amorlis jellegvel
magyarzza: Valamennyi kzmondsban akkor fedik be a kutat, miutn a gyermek
mr belefulladt. Markalf egyszerre parodisztikus s destruktv vlaszaival Salamon
blcsessgt a htkznapi tapasztalathoz mri hozz, s a ltszlagos megersts
gesztusval z gnyt a kirly hatalmbl. Markalf egyetlen esetben sem mond ellent
Salamon tantsnak, m ppen a kirly ltal kinyilvntott tudshoz illeszked, azt
kiforgat proverbiumokkal ingatja meg a salamoni iustitia s sapientia rvnyessgt. (RCKE, Werner 1987: 106-107).
rvidek s temrdekek; jjai zomokok; lbai rvidek s felette temrdekek valnak; az orra penig Markalfnak
(mint egy ssugorka) temrdek, szepls s horgas, mint a knynak, brzatja nki ollyan, mint a szamrnak;
haja ollyan, mint a baknak a szre s sarjai igen parasztok valnak; bre peniglen rt s igen szepls s fekete, mint a sr. Ruhja kurta s csak a balfenekeig rt vala. Nadrga szllel kiterjedett vala s minden ltzeti
ktelenek valnak. (DZSI Lajos 1930: 5.) Felesge hasonlan ktelenl rt teremts.
Az n atym a mezben egy krbl kt krt csinl; az anym penig a szomszdasszonynak azt miveli,
azmit tbbszer soha nem mivel. A btym ott kn az fal alatt lvn, amit tall, mind megli, nnm penig
a kamorban lvn, esztendeig val nevetst siratja. (DZSI Lajos 1930: 23). Jelentse: Az n atym a
mezben az svnt el akarvn foglalni, azmely az fldn megyen ltal, tviset rak oda. s az tonjrk
eljnek s kt rtalmasb svnyeket csinlnak az egybl s gy egy krbl kett lszen.Az anym a szomszd
asszonnak az szemt fogja be, mert meghlt, amelyet tbbszer nki nem mivel. Nnm viszontag az elmlt
esztendben hogy egy ifjat megszeretett vala s sok jtszods s nevets kzbe, csecsezs s cskols kzbe
megterhesedvn, mostan immr sr. (DZSI Lajos 1930: 23-24)
A trufarszt rtelmez Werner Rcke szerint Markalf az erszak s az erszak meggtolsnak jtkt zi
trufiban. Az udvar nyilvnossgban cselekszik, ez teszi vilgoss, hogy csnyei nem csupn a gyengbb fl
408
Utasi Csilla
A mesemond s Markalf alakjt Steinhwel gyjtemnynek megjelense ta gyakran sszefggsbe hoztk egymssal. (CURSCHMANN, Michael 1993: 236-237)
410
Utasi Csilla
11
Pzmny Pter a Kalauzban Salamon kirly udvari bolondjnak mondja Markalfot. A historizl szemllet
ksei dokumentuma, hogy a hazai hagyomny Markalfot megtette a magyar Salamon kirly bolondjnak:
Losz Istvn figyelmeztet arra, (E.Phk. 1892, 166.l.), hogy a Budai Ferenc-fle Polgri lexikon II. ktete
(634.l.) nemcsak ezt tudja, hanem azt is, hogy Markalf Moson vrmegyben vron lakott. Budai ezt az
adatot, gy ltszik, Frhlich Dvid Medulla geographiae c. mvbl vette (E. Phk. 1914., 815. l., Gulys
Jzsef kzl.). Valszn, hogy Dugonics s Szirmay Antal (Hungaria in parabolis) is vagy innen, vagy Budai
mvbl ismeri. (DZSI Lajos 1930: 44)
Csilla Utasi
412
. XXXV (2010)
Annual Review of the Faculty of Philosophy, Novi Sad. Volume XXXV (2010)
Laura Spriosu
lauraspariosu@yahoo.com
UDK 811.135.1(497.113)373.45
Originalni nauni rad
1. INTRODUCERE
Calcul lingvistic, ca una dintre modalitile de mbogire a vocabularului
unei limbi, este un procedeu mixt (intern i extern) de completare i diversificare a
lexicului. Calcul presupune, pe de o parte, copierea structurii (i, implicit, a sensului)
unor cuvinte strine i transpunerea lor n material lingvistic autohton (Hristea 1968).
n lucrarea de fa, vom ncerca s facem, n linii mari, o prezentare a felurilor de calc lingvistic nregistrat n limba romn vorbit n Voivodina.
Vom ncepe cu calcul lexical semantic, unde subliniem c este vorba despre
un mprumut de sens sau un adaos de sens la celelalte sensuri pe care un termen le are
deja ntr-o limb. La fel, este important c ntre cele dou cuvinte n contact trebuie
s existe o coinciden parial din punct de vedere semantic (Hristea 1968).
Un alt tip de calc nregistrat este calcul lexical de structur, care const n copierea sau mprumutarea formei interne a unui cuvnt strin (Hristea 1968). Aici deosebim
calcuri totale i pariale, precum i calcuri dup derivate cu sufixe, cu prefixe, calcuri
dup derivate parasintetice i compuse formate prin calchiere. Aceste categorii sunt
destul de bine reprezentate n limba romn vorbit n Voivodina (Magdu 1980: 123).
n afar de calcul lexical (semantic i de structur) putem vorbi i despre
prezena calcului gramatical morfologic. Acest calc se ntlnete mult mai rar dect
cel lexical sau cel frazeologic, acest lucru gsindu-i explicaia n faptul c structura
gramatical a unei limbi este mult mai stabil i mai rezistent la influenele strine
dect vocabularul. Calcul gramatical const n imitarea comportamentului gramatical
414
Laura Spriosu
al unui cuvnt sau al unei clase de cuvinte dintr-o anumit limb, adic aceea ce se
copiaz este un procedeu morfologic sau sintactic (Hristea 1980).
Desigur, ponderea maxim o deine calcul frazeologic. n timp ce calcul
lexical de structur imit structura unui singur cuvnt, cel frazeologic copiaz structura unui grup de cuvinte care exprim un coninut unic i care, din aceast cauz,
formeaz o unitate frazeologic (Hristea 1968). Cele mai multe elemente care intr n
componena unitilor frazeologice exist deja n limb ca uniti independente, dar
n calcuri intr n mbinri lexicale necunoscute limbii romne (Magdu 1976).
Pe lng creaiile interne i de mprumuturi, calcul lingvistic a avut o contribuie semnificativ la modernizarea i mbogirea lexicului romnesc. La fel, trebuie
spus c n procesul de dezvoltare a limbii romne perioadele productive n calcuri au
coincis cu momentele importante ale rennoirii vocabularului, ncepnd cu influena
slav, apoi influena francez, de la mijlocul secolului 19 i pn astzi, cnd suntem
martori ai unei puternici influene a limbii engleze.
2. LIMBA ROMN N VOIVODINA:
INFLUENE I CONDIII DE DEZVOLTARE
n Provincia Socialist Autonom Voivodina, limba romn este tratat n
aceleai condiii i pus pe picior de egalitate cu limbile celorlalte popoare conlocuitoare, varianta literar a acesteia fiind utilizat n mass media, n manualele colare,
n poezia i n proza scriitorilor etc.
Condiiile specifice de dezvoltare, deosebite de cele din Romnia, confer
limbii romne literare din Voivodina un caracter propriu, determinat, n egal msur,
de factori interni i externi (Magdu 1976).
Printre factorii interni se enumer baza dialectal diferit i influena permanent
a graiului bnean. Baza dialectal a romnei literare vorbit n Voivodina se confrunt
cu particulariti locale i regionale, iar graiul bnean creeaz dificulti procesului firesc de dezvoltare i de rspndire a limbii romne literare pe acest teritoriu.
Cnd este vorba despre factorii externi care confer limbii romne literare
din Voivodina o not de originalitate fa de limba vorbit n Romnia, aici subliniem
influena limbii srbe.
n procesul de formare i de mbogire a lexicului, limba romn, ca i alte
limbi, a apelat adesea la mprumuturi, realizate fie direct, fie prin traducerea (calchierea) sensurilor sau elementelor componente ale unui termen (Munteanu i ra 1978).
Acest ultim procedeu este chiar preferat de ctre unii scriitori, deoarece, conform prerii unora dintre ei, n felul acesta caracterul naional al limbii pare mai puin tirbit
dect n cazul introducerii neologismelor1 ca atare.
1
Ptrunderea i adoptarea neologismelor n limba romn a fost i a rmas o preocupaie permanent a lingvitilor; n acest sens, putem vorbi despre puriti, care apar puritatea limbii i ceilali, adic lingvitii care pledeaz pentru utilizarea neologismelor. n procesul su de dezvoltare, limba romn s-a mbogit considreabil
cu termeni neologici care in de diferite domenii, n timp ce uzarea neologismelor i gsete justificare i n
opera marilor scriitori, precum Mihai Eminescu sau Mihail Sadoveanu.
Forma vi voi n limba srb este forma pronumelui personal la persoana a II-a plural, fiind utilzat, n
acelai timp, i ca pronume de politee.
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Laura Spriosu
dus prin a iei n ntmpinare (cuiva); dup pozvati na odgovornost s-a creat a chema la rspundere; expresia snai se se traduce prin regsete-te; despre cineva care a
suferit o pierdere se spune c a rmas cu mnecile scurte, de la ostao kratkih rukava.
Asemenea traduceri sunt improprii, ele putnd fi nlocuite cu echivalente romneti
care sugereaz sensul, fr a traduce expresia mot mot. Astfel, sensul expresiei st
pe picioare de sticl poate fi redat prin a ajuns n impas sau se gsete ntr-o situaie
critic; izai u susret nseamn a veni cuiva n ajutor; pozvati na odgovornost se
poate traduce prin a trage la rspundere; expresiei snai se i corespunde imperativul
descurc-te!; ostao je kratkih rukava s-ar putea nlocui cu a rmas cu buzele umflate,
dei expresia romneasc mai conine i o nuan de ironie, necunoscut celei srbeti. La fel de improprie este expresia interogativ cum eti? folosit n Voivodina n
locul lui ce mai faci? Expresia respectiv s-a creat sub influena srbescului kako si?
Construciile calchiate dup srb confer un caracter aparte limbii romne
scrise n Voivodina. Despre prezena calcurilor, mai ales a celor lexicale, se poate
vorbi ca despre un fapt necesar, motivat deopotriv de realitile social-politice, dar
i de tradiia istoric (Magdu 1980: 122).
Vorbind despre calcul lexical semantic, trebuie spus c acest tip de calc nu este
cel mai caracteristic i nici cel mai frecvent, dar dm cteva exemple: verbului a scrie dicionarele i atribuie, pe lng alte sensuri, acelea de a-i nscrie numele ntr-un catalog,
a (se) nregistra, a (se) nmatricula. Dup modelul srbesc upisati fakultet, i verbul
romnesc este folosit pe lng acest substantiv: a nscrie o facultate. Un calc semantic
prezint i verbul a se reine3, folosit ns n Voivodina cu sensul de a se opri, a poposi, dup srbescul zadravati se. Acesta apare n contexte ca: domiciliu provizoriu
este localitatea n care cetenii se rein provizoriu; cetenii sunt obligai s-i anune
reinerea n fiecare localitate; dup o scurt reinere n salonul hotelului, oaspeii au
plecat. Tot calc semantic este i verbul a elibera4, ntrebuinat cu sensul de a scuti (pe
cineva de o obligaie sau de pltirea unei taxe), dup srbescul osloboditi nekoga obaveze.
De asemenea, adjectivul trainic, pe care n dicionare l gsim explicat cu sensul de solid,
rezistent, durabil, este utilizat n construcii ca: interdicie trainic a ziarului, dup srbescul trajna zabrana lista, sau trainic neangajat dup srbescul trajno nezaposlen. Dei
destul de frecvente, aceste calcuri sunt concurate de formele lor paralele, general-romneti, neavnd mari anse de a se impune: a se nscrie la facultate, a poposi, suprimare.
Cnd este vorba despre calcul de structur,primul exemplu pe care-l dm
este folosirea termenului ajuritate, din srbescul aurnost5, promptitudine, punctualitate, mprumutat, n srb, din francez. n cazul lui dezanun i dezanunare, au
fost copiate modelele srbeti odjava i odjaviti. De menionat c prefixul dez- este
productiv n limba romn, contribuind la crearea unor derivate precum: a dezmoteni, a dezonora, a dezarma etc. Tot prin calc de structur format cu sufix sunt consti3
4
DEX-ul i atribuie sensul de nealiniere, neutralitate activ, atitudine liber fa de orice alian sau
convenie militar sau politic.
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Laura Spriosu
4. CONCLUZII
Putem s ne punem ntrebarea dac utilizarea calcurilor este motivat n limba romn vorbit i scris n Voivodina. Rspunsul poate fi afirmativ, cci, dac toate limbile mprumut n permanen cuvinte strine, cu att mai firesc este ca aceasta
s se ntmple i cu limba romn ntr-un mediu n care srba este cea mai apropiat
surs la care apeleaz, n scris sau n grai, ntreag masa de vorbitori (Magdu 1980:
87). Nu a existat i nu exist pe lume populaie care s nu fi mprumutat cuvinte de
la alte populaii i aceasta este ceva firesc; este alt chestiune, ns, dac orice cuvnt
mprumutat este bun (Graur 1963: 22).
Revenind la problema care ne intereseaz, putem spune c, de vreme ce
formele de organizare ale societii au suferit, de-a lungul timpurilor, modificri n
decursul evoluiei, este firesc ca i denumirile acelor realiti s se schimbe (Bulgr
1969). n asemenea mprejurri, noiunile din srb trebuie transpuse n romn n
aa fel nct s redea ct mai fidel ideea exprimat de textul original. Este evident
c un astfel de efort este nsoit adesea de scpri. De asemenea, specific mediului voivodinean este i bilingvismul, care faciliteaz crearea spontan a calcurilor
(Magdu 1976).
n acest context, limba romn literar vorbit i scris n Voivodina se definete mai puin prin caracterul ei divergent, datorat, n primul rnd, confruntrii
permanente cu subdialectul bnean i puternicii influene srbe. Reprezentativ rmne dezvoltarea ei n consens larg romnesc, subsumat limbii romne literare
vorbit n Romnia, instrument de comunicare valabil pentru toi vorbitorii, dincolo
de diferenierile de ordin geografic (Magdu 1980: 126).
Studierea atent i aplicarea corect a normelor limbii romne literare reprezint, astfel, unul din factorii cei mai importani de nivelare a deosebirilor produse
n Voivodina, att de caracterul izolat i nchis al graiului local, ct i de relatrile
sociale i politice diferite, crora trebuie s le fac fa ndeosebi stilul publicistic
i cel administrativ, axate pe alte direcii dect cele obinuite (Magdu 1980: 127) .
Dei fenomenul de care ne-am ocupat prezint un bogat material de cercetare, intenia a fost de a da doar cteva exemple, scopul fiind de a atrage atenia asupra
acestui fenomen. Considerm la fel de interesante i exemplele de calcuri cu caracter
idiomatic, acestea fiind chiar frecvente n limba romn vorbit n Voivodina.
BIBLIOGRAFIE
Academia Romn (2005). DOOM - Dicionarul ortografic, ortoepic i morfologic al
limbii romne (ediia a II-a, revizuit i adugit). Bucureti: Editura Univers Enciclopedic.
Academia Romn (1996). DEX - Dicionarul explicativ al limbii romne (ediia a
II-a). Bucureti: Editura Univers Enciclopedic.
Laura Spariosu
POGLED NA LINGVISTIKI KALK U RUMUNSKOM JEZIKU U VOJVODINI
Rezime
Ovaj rad se sastoji iz etiri dela: u prvom delu data je definicija i opisane su vrste lingvistikog kalka u rumunskom jeziku. Drugi deo rada je posveen kratkom opisu rumunskog
jezikog standarda u Vojvodini, gde moemo govoriti o dva snana uticaja: prvi uticaj je uticaj
banatskog nareja, dok je drugi snaan uticaj upravo uticaj srpskog jezika. Oba idioma utiu
na stvaranje propusta, greaka i odstupanja u odnosu na normu standardnog rumunskog jezika,
kao i na pojavu lingvistikog kalka. Trei deo rada je posveen primerima na osnovu kojih
se najbolje i najlake moe ilustrovati uticaj srpskog jezika na rumunski jezik kao i nastanak
lingvistikog kalka, dok je poslednji, etvrti deo rada posveen diskusiji da li se pojava lingvistikog kalka u rumunskom jeziku u Vojvodini moe smatrati opravdanom ili ne.
Kljune rei: rumunski jezik, srpski jezik, Vojvodina, lingvistiki kalk
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Laura Spriosu
Laura Spariosu
ASPECT OF LOAN TRANSLATION IN ROMANIAN LANGUAGE IN VOJVODINA
Summary
This work contains four parts: in the first part the author gives essential definitions
and forms of loan translations; the second part is dedicated to character of Romanian language
spoken in Voivodina, influenced by both subdialect spoken in Banat and Serbian language.
This issue causes the aberration from the norm applied in standard Romanian language and
creates loan translations. The third part is dedicated to these aberrations and loans trasnlations,
with examples given to illustrate this issue. Finally, in the fourth part dilemma if the creation
of loan translations from Serbian could be approved in Romanian language spoken in Voivodina is discussed.
Key words: Romanian Language, Serbian Language, Vojvodina, loan translation
. XXXV (2010)
Annual Review of the Faculty of Philosophy, Novi Sad. Volume XXXV (2010)
Dr Anna Makiov
makisova.anna@gmail.com
UDK 81276.3-053.2
Originalni nauni rad
422
Anna Makiov
424
Anna Makiov
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Anna Makiov
situcie, ale aj od povahy osoby. Nie vdy kad osoba, kad diea rovnako reaguje, vyuva rovnak mimojazykov dorozumievacie prostriedky. Pohyby mu trva
vemi krtko, sekundu-dve, ale mu trva aj omnoho dlhie. Mu to by pohyby
rukou, hlavou, tvrou, privretie o, zdvihnutie oboia, otanie celho tela, alebo sa
vyuva len pohad. Okrem toho, e v komunikcii pohyby vyuva vychovvateka,
mimojazykov prostriedky s prtomn aj u povajceho - u dieaa. Naprklad ak
sa diea zhoduje, shlas s vychovvatekinou informciou, me to manifestova
pokvnutm hlavy. Neverblny shlas me by sprevdzan aj verblne, verblnym
textom, vyslovenm komentru vyplvajceho zo situcie. Rovnako tak aj pohyby
rukami dopaj komunikciu. Ak tie pohyby nie s npadn, rchle, ale kudn,
priebeh komunikcie be nehatene a v uebni sa utvra prjemn komunikan atmosfra. Dleitm prejavom neverblnej komunikcie je aj mimika. Deti vnmaj
mimiku vemi citlivo. Niekedy viac pochopia z mimiky ako zo slov. Sprvnou mimikou a dokonalm ovldanm svojej tvre me vychovvateka dosiahnu v skupine
vemi dobr komunikan atmosfru.
Rovnako tak ako o si gestami, mimikou a pohybmi vypomha v komunikcii
vychovvateka, aj diea vyuva vetky mimojazykov dorozumievacie prostriedky.
Detsk gestikulcia je vemi dynamick. Zvl na prekolskom stupni. asto pouvan gest s aj vsledkom nedostatonho ovldania slovnej zsoby dieaa. Z mimickch prejavov vemi asto s zastpen pohyby st, o, ale na predkolskom stupni s
vemi vrazn a ast pohyby bu jednou rukou alebo oboma a vrazn s aj pohyby
celm telom. V takch situcich zvykneme asto poveda, e s deti neposedn, nevydria dlho sedie na jednom mieste, o si vyaduje aby vychovvateka urobila kratiu
prestvku alebo dala deom in zamestnanie, aktivitu.
Vo svojej kadodennej praxi vychovvateka vyuva gest ako sprievodn prvky verblnej komunikcie. V niektorch situcich gest mu aj zastupova
verblnu komunikciu. Sprievodn gest s mimovon. Zstupn gest zastupuj
ist obsah. Medzi gest zaraujeme pokyny rukou, hlavou, obom. Gest tohto typu
mu vyjadrova tu, tam, ja, ty, hore, dolu, mu by vzvou, vyjadrova otzku
a pod. Deti niekedy viac pochopia z mimiky alebo gest ako zo slov.
Poas verblnej komunikcie vychovvateka je obrten tvrou k deom.
Deti zvyajne sedia, vychovvateka tie, ale me aj st. Vemi s dleit aj
pohyby, ktor vykonva vychovvateka, ale aj diea poas komunikcie. Ak si je
diea neist, asto rob pohyby rukou smerom k tvri, dotka si ui, tvr. Detsk
gestikulcia je vemi dynamick. Ak diea asto vyuva gest, je to prejavom nedostatonho ovldania slovnej zsoby.
Komunikcia v materskej kole bude spen, ak sa vychovvateka bude
snai podnieti deti do rozhovoru, vytvor v uebni priazniv podmienky pre komunikciu. Vemi je dleit, aby boli v komunikcii zastpen nielen verblne, ale aj
neverblne prvky, ktor sa navzjom dopaj a striedaj. Vychovvateka sa mus usilova, aby rozprvanie det bolo svisl, jazykovo sprvne a aby nebolo monotnne.
Dr Makiova Ana
VERBALNA I NEVERBALNA KOMUNIKACIJA NA PREDKOLSKOM UZRASTU
Rezime
Motivisanje dece za sticanje komunikativnih iskustava i aktivno uee u razvijanju
komunikativnih vetina na predkolskom uzrastu pripada vaspitaici. Sve aktivnosti, kako
verbalne tako i neverbalne, ne smeju biti nametnute ve motivisane. U okviru verbalne komunikacije, na ovom uzrastu ima dominaciju monolog, i to monolog vaspitaice. Njeni monolozi
su ei i dui, obraa se celoj grupi, sledi dijalog sa decom koja su govorno aktivnija, komunikativnija. Na ovom uzrastu ree su zastupljene kod dece u upotrebi reenice, ve samo
rei. U veini sluajeva komunikaciju zapoinje vaspitaica i ona tu predstavlja bitan faktor
u razvoju detetovog govora kako i uspene komunikacije. Da bi komunikacija bili uspena,
vaspitaica mora postavljati prava pitanja, uspostavljati pravi dijalog i ukljuivati i decu, koja
su govorno manje aktivna.
Drugi tip komunikacije zastupljen na predkolskom uzrastu jeste neverbalni. Ovim tipom komunikacije ovladava ne samo vaspitaica, nego i deca. Zastupljena je mimika, pokreti
rukom, glavom, pogledom, ili razni izrazi lica.
Kljune rei: dete, vaspitaica, komunikacija, verbalna neverbalna, monolog, dijalog,
pokret rukom, mimika, gest.
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Anna Makiov
Dr Makiova Ana
VERBAL AND NONVERBAL COMMUNICATION WITH PRESCHOOL CHILDREN
Summary
Motivating children for the acquisition of communicative experiences and for active
participation in the development of communicative skills is the role of the preschool teacher.
All activities, both verbal and nonverbal, cannot be imposed but motivated. Within the scope
of verbal communication with children of this age the dominant mode is the monologue of
the preschool teacher. Her monologues are more frequent and longer, she addresses the whole
group and then follows a dialogue with the children who are verbally more active and more
communicative. At this age children do not use sentences as often as they use words. In most
cases the communication process is initiated by the preschool teacher, who is an important
factor in the development both of childrens speech and of successful communication. In order
for communication to be successful the preschool teacher must ask the right questions, establish a real dialogue and also include children who are less verbally active.
The second type of communication found at the preschool age is nonverbal. This type
of communication is not acquired only by the teacher but by children as well. Various means
of nonverbal communication are found: facial expressions, movements of the hand and head,
the gaze, etc.
Key words: child, preschool teacher, verbal, nonverbal, monologue, dialogue, gestures, mime, facial expression.
. XXXV (2010)
Annual Review of the Faculty of Philosophy, Novi Sad. Volume XXXV (2010)
Olga Pani-Kavgi
olgapk@sbb.rs
UDK 811.163.41372:791.3
811.111372:791.3
Originalni nauni rad
1. INTRODUCTION
According to Kakav, verbal disagreement can be defined as a verbal oppositional stance to an antecedent verbal (or non-verbal) action (cf. Locher 2004:
95). Commenting on Kakavs definition, Locher (2004: 95) further explains that
these actions could have been put forward either by a previous speaker in the current
speech situation or derived from earlier interactions. Hence, what is necessary in the
process of any meaningful analysis of disagreement is a qualitative analysis of the
phenomenon, which takes into account all components of the speech situation, both
linguistic and extralinguistic. Disagreement restricts the addressees action environment because it creates a slot in which an answer to the subject of the disagreement
is expected (Locher 2004: 94). Such actionenvironment restriction, along with the
1
This is an expanded version of the presentation entitled Ways of Expressing Mitigated Disagreement in Two
Languages and Cultures: Verbal Mitigating Strategies in Selected Dialogues from an American and a Serbian
Film, which was given at the Fifth International Interdisciplinary Symposium Encounter of Cultures, held
at the Faculty of Philosophy in Novi Sad, University of Novi Sad, on 1st December 2009.
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Olga Pani-Kavgi
inherent involvement of a conflict and clash of interests, often lead to more or less obvious exercise of power, which is an important feature of most verbal disagreements.
Crucial for any further discussion of disagreement is the notion of face, introduced and defined by Goffman (1967: 5), as a positive social value a person effectively claims for himself by the line others assume he has taken during a particular
contact. In other words, face is the public self-image of a person, as later defined
by Brown and Levinson (1987: 61), in their seminal work on politeness. It is that
emotional and social sense of self that everyone has and expects everyone else to recognize. Brown and Levinson further explain that peoples expectations concerning
their self-image, i.e. their face wants, can be threatened by being subject to a facethreatening act. As summarized by Cutting (2002: 45), when face-threatening acts
are unavoidable, speakers can redress the threat with negative politeness that respects
the hearers negative face their need to be independent, have freedom of action
and not be imposed on by others. On the other hand, speakers can redress a facethreatening act with positive politeness, which attends the positive face, their need to
be accepted and liked by others, treated as a member of the group, and to know ones
wants are shared by others. According to Brown and Levinson (1987), there are five
strategies available: to do the face-threatening act off record (e.g. to ask someone for
a pen by saying: I think I forgot my pen.), or to perform it on record, either baldly
(e.g. Give me your pen.), with negative politeness (e.g. Could you, please, give
me your pen?) or with positive politeness (e.g. Hey, pal, let me just use your pen
for a second, will you?). It is the latter two that will be of interest for the topic of
this paper. Thus, on-record positive and negative politeness strategies will be the ones
involved in realizing mitigated disagreement as it will be defined and classified in the
examples to follow in Section 3.
Since face is a concept meant to describe an individuals self-image dependent on others, as well as interaction with his or her environment, a threat to ones face
is clearly seen as dispreferred. As any disagreement intrinsically involves at least one
face-threatening act, it has, in turn, clearly been viewed as equally dispreferred. Consequently, minimizing disagreement is seen as one of the main goals of successful
communication. Thus, Leech (1983) regards it as one of his main politeness submaxims (belonging to the agreement maxim, one of the six maxims he proposed within
his Politeness Principle, an addition to Grices Cooperative Principle), which he formulated as follows: minimize disagreement between self and other, accompanied
by the adjacent submaxim maximize agreement between self and other (Leech
1983: 132). Likewise, Brown and Levinson (1987: 66) consider disagreement to belong to those acts that threaten the positive face-want, by indicating (potentially)
that the speaker does not care about the addressees feelings, wants, etc. that in
some important respect he does not want the hearers wants. Hence, they formulated
the two subcategories of positive politeness: seek agreement and avoid disagreement (Brown and Levinson 1987: 112-117).
The terms mitigated disagreement and unmitigated disagreement are used by Locher (2004), whereas the
general definition of mitigated disagreement is here given by Pani-Kavgi, based on Lochers discussion of
the topic.
The extent to which the force of a face-threatening act has been softened by employing one of the mitigating
strategies depends on whether a particular case of disagreement is perceived as weak or strong, according to
the division of disagreements seen as dispreferred answers, which was proposed by Pomerantz (1984).
Examples of particular mitigating strategies within their sentential contexts are given in bold type.
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Olga Pani-Kavgi
social and psychological traumas burdening their lives) and thus lend themselves
well to comparison.
Crash is an Academy-Award-winning motion picture directed by Paul Haggis. It is an ensemble film, an urban drama with an in-depth exploration of intersecting
lives, race relations, class differences and social injustice, set over 24 hours in presentday Los Angeles. The title Crash itself is a metaphor for collisions between strangers
during one day in Los Angeles, people whose lives collide with each other in most
unpredictable and striking ways. The plot consists of a series of intertwining vignettes
each of which is meant as a commentary on the interconnectedness of life in a city as
big and diverse racially, culturally and socially as Los Angeles certainly is.
The interwoven stories in Crash centre around twelve characters of diverse
racial and social backgrounds, who all go through a personal metamorphosis as the
film unfolds: Anthony and Peter, two young black thieves who are constantly theorizing about society and race; Graham, Peters older brother, a successful and respected
crime investigator; Ria, his Hispanic lover and partner on the police force; Rick, the
powerful white district attorney and Jean, his attractive, but spoilt and frustrated wife;
Ryan, a racist cop and Hansen, his more idealistic younger partner; Farhad, an Iraqi
immigrant who buys a gun to protect his shop and his family (his daughter Dorri and
wife Shereen); a Chinese couple involved in trafficking illegal immigrants from the Far
East; Daniel, a striving Hispanic locksmith and his little daughter Lara who is afraid of
bullets; Cameron, a successful black Hollywood director and his wife Christine, who
falls victim to officer Ryans racial intolerance these are only some of the characters
who face their moral dilemmas and try to come to terms with the consequences of
their decisions and actions. Paul Haggiss and Bobby Morescos Oscar-winning script
(2006 Academy Award for best original screenplay) abounds in dialogues which can be
interpreted as representatives of various disagreement strategies, roughly half of which
could be said to fit into the frame of mitigated disagreement. As the title suggests, the
characters crash into (and clash with) each other, both physically and metaphorically,
and as they do, they propel each other along, allowing for the development and realization of various modes of both mitigated and unmitigated disagreement.
Bure baruta, a joint YugoslavMacedonianFrenchGreekTurkish project,
is a feature film directed by Goran Paskaljevi, premiered at the Venice Film Festival
in 1998. The screenplay for the film is based on the highly acclaimed and successful
stage play by Dejan Dukovski. Just like the title Crash, Bure baruta (literally, Powder
Keg) is also a metaphor, a name given to the Balkan Peninsula at the beginning of
the 20th century, referring to the never-ending tensions burdening the Balkan peoples
who, time and again, fight wars, make up and then fight again. The plot unfolds in
the Serbian capital of Belgrade during a single night in the mid-1990s, amidst an
atmosphere of economic and moral poverty and the decline of all moral values. Ridden with dark symbolism, it is a violent and disturbing image of war-time Belgrade
and its traumatised citizens, whose paths crisscross one night, as the powder keg is
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Olga Pani-Kavgi
explanations and reasons for disagreeing, giving personal or emotional reasons for
disagreeing, avoiding straightforward disagreement by changing the topic, avoiding straightforward disagreement by shifting responsibility, using in-group identity
markers and first-name address, as well as downtoning the effects, intensity or importance of a recent action or statement. This classification of strategies for softening
disagreement is largely based on Locher (2004: 113), with the exception of two strategies avoiding straightforward disagreement by changing the topic and downtoning
the effects, intensity or importance of a recent action or statement, which are here
introduced by Pani-Kavgi. All nine mitigating strategies will be exemplified by
their most representative cases found in the two sets of film dialogues.
3.1. The use of hedges and discourse markers
Hedges are cautious notes expressed about how an utterance is to be taken,
used when giving some information (Yule 1996: 130), such as This is gonna sound
strange, but On the other hand, discourse markers, defined by Schiffrin (1987: 31)
as sequentially dependent elements which bracket units of talk, such as well, oh, I
mean, can, but need not perform a function similar to that of a hedge. Locher (2004:
337) even claims that a discourse marker can be a hedge, but does not necessarily
have to be one. In other words, it is not always easy to distinguish between the two
classes. Thus, for the purposes of this paper, they will be viewed together, since both
hedges and discourse markers can act as face-threat mitigators,5 as shown in the following examples from Crash (while, surprisingly enough, in Bure baruta, there are
virtually no examples of hedging in its prototypical sense):
E6: DIXON7: Thats not a good enough reason. HANSEN: Then I guess8 I should
think of a better one and get back to you. DIXON: So you think Im asking you
to make one up. HANSEN: Uh, no, sir. I just cant think of one... right now.
*9 FRED: This is gonna sound strange, but is Jamal seeing a speech coach or
something? CAMERON: What do you mean? FRED: Have you noticed, uh...
This is weird for a white guy to say, but have you noticed hes talking a lot less
black lately? [] FRED: I mean, cause all Im saying is its not his character.
Eddies supposed to be the smart one, not Jamal, right?
3.2. The use of modal verbs
Modal auxiliaries, such as may, might, could, would and should, can sometimes be used to reduce the force of face-threatening acts, when they express putative,
5
6
7
8
9
A comprehensive list of hedges, as well as of discourse and hesitation markers functioning as hedges, was
provided by Aijmer (1986: 2-4) and was subsequently supplemented by Locher (2004: 115).
E stands for English, i.e. dialogues from the film Crash.
The names of characters from the two films are given in capital letters.
Examples of particular mitigating strategies within their sentential contexts are given in bold type.
The asterisk marks the end of one adjacency pair example and the beginning of another.
S stands for Serbian, i.e. dialogues from the film Bure baruta.
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Olga Pani-Kavgi
otruje Lesiku? Pa zajedno smo ga kupili. Ti si ga uio da aportira. * ANDREJA: Je se Vi seate, gospoo, kako je bilo pod Turcima, a? ENA: Otkud ja
znam kako je bilo pod Turcima!? ANDREJA: Kako ne znate, gospoo, kako
je bilo pod Turcima? Pa petsto godina smo bili pod Turcima! ANDREJA: A
Vi pamtite vabe, je l da? ENA: Ne pamtim vabe. ANDREJA: Ni vabe ne
pamtite!? * BORIS: Kasno je, Mane. MANE: Pa ta je kasno? ta je trebalo,
da ginem ovde, ta? * NATALIJA: To se tebe ne tie. MANE: Je li, to se mene
ne tie? * MANE: Ti zna da ja mrzim rastanke. NATALIJA: Mrzi rastanke?
Mane... Mane, nisam... Nisam vie mlada.
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Olga Pani-Kavgi
that shifting responsibility typically takes place in one of the following three ways:
by ascribing the utterance to a different source, by using they or you to exclude oneself, or by using we to spread responsibility. Labelled by Brown and Levinson (1987:
204-206) as point-of-view distancing, this strategy was found as a mitigating device in an approximately equal number of disagreements in the two sets of dialogues:
E: FRED: Is there a problem, Cam? CAMERON: No, we dont have a problem.
FRED: [] Youre the expert here. But to me, it rings false. * RYAN: [] I
think his nurses are doing most of the work. SHANIQUA: Mmm. If youre unhappy, your fathers welcome to see a doctor outside the network. [] Im
sorry. Theres nothing else I can do. * FARHAD: Yes. I tell him, fix it. KEN
HO: They said their man told you to fix the door, and you didnt do so. DORRI:
Are you saying its his fault? KEN HO: Insurance company is calling it negligence. Theyre not covering any of this.
S: SESTRA: Oe me ostaviti na miru? Oe li? GELE: E, sele, sele, nisam ti
ja kriv to te Mujo ostavio. * NATALIJA: Mogao si da ostavi poruku, pismo,
bilo ta! Bilo ta... MANE: Ti zna da ja mrzim rastanke.
3.8. Using in-group identity markers and first-name address
Positive politeness in avoiding straightforward disagreement is best seen in
the employment of in-group identity markers (expressions typical of a certain group
of people, which are based on, for instance, their age, sex, race, profession or social
status), as well as in addressing the interlocutor by his/her first name (which, however, need not be a means of mitigation). The two related strategies that indicate an
informal relationship between the communicators increase the degree of friendliness
and familiarity, and create a feeling of identification at one or more of the abovementioned identificational levels. Dialogues containing disagreement mitigated in
these ways occurred on more occasions in both screenplays, though more frequently
in the American film:
E: DETECTIVE CARR: I heard it might snow. GRAHAM: Get outta here. *
ANTHONY: She got colder as soon as she saw us. PETER: Ah, come on, dont
start. ANTHONY: Man, look around you, man. * DORRI: Here. Now you
can shoot anybody you want. FARHAD: Dorri, that man couldve killed your
mother. * LUCIEN: [] Then bring the truck here so I can share in the experience. ANTHONY: Come on, man. Its a little bit of blood. Itll wash right off. *
FLANAGAN: Who knows about the money? GRAHAM: You gotta be kiddin
me. * FRED: Yeah. Listen. I think we need another take, buddy. CAMERON:
That looked pretty terrific, man. * PETER: People, man. People. HANSEN:
People like me. PETER: No, no, no, no. Im not laughin at you, man. HANSEN:
I can see that. Why dont you laugh outside? PETER: Why are you gettin all
bent outta shape? HANSEN: Im not gettin bent, man. Just pulling over. PETER: Come on, man, keep drivin. I said Im not laughing at you.
Word count of the two transcripts showed that there were only about a hundred items more in the Crash
dialogues than in those from Bure baruta.
440
Olga Pani-Kavgi
films. Finally, there were considerably more examples in Crash of hedging, using
modal verbs, offering objective explanations and reasons for disagreeing, as well as
using in-group identity markers and first-name address forms. In other words, while
Serbian speakers clearly show a preference for giving personal or emotional reasons
for disagreeing with their interlocutors, the characters in the American film seem to
opt for objective explanations and reasons for entering into disputes. It should also
be noted that, on the whole, if both scripts are viewed together, it is conspicuous that
there are three mitigating strategies for softening disagreement that rank higher than
the other six as regards the number of examples and the frequency of their occurrence in the two films giving objections in the form of a question, offering objective
explanations and reasons and giving personal or emotional reasons for disagreeing.
Finally, it would be most intriguing to provide an insightful analysis of the
strategies used in correlation with contextual parameters such as the interlocutors
age, sex and race, as well as their ethnic, cultural and social background. The limitations of the scope of this paper, however, reduce such an analysis to not more than a
very rough social and cultural sketch of the two groups of characters given in Section
2, resulting only in a small-scale examination of various contextual factors.
REFERENCES
Aijmer, Karin (1986). Discourse variation and hedging, in Corpus Linguistics II. New
Studies in the Analysis and Exploitation of Computer Corpora. ed. J. Aarts
and W. Meijs. Amsterdam: Rodopi, 1-18.
Brown, Penelope and Levinson, Stephen C. (1987). Politeness. Some Universals in
Language Usage. Cambridge: Cambridge University Press.
Cutting, Joan (2002). Pragmatics and Discourse. London, New York: Routledge.
Haggis, Paul and Moresco, Bobby (2004). Crash (film transcript), available at: http://
www.awesomefilm.com/script/crash_h.html
Leech, Geoffrey (1983). Principles of Pragmatics. New York: Longman.
Locher, Miriam A. (2004). Power and Politeness in Action: Disagreements in Oral
Communication. Berlin, New York: Mouton de Gruyter.
Pomerantz, Anita (1984). Agreeing and disagreeing with assessments: some features
of preferred/dispreferred turn shapes, in Structures of Social Action. Studies
in Conversation Analysis, ed. J. M. Atkinson and J. Heritage. Cambridge:
Cambridge University Press, 75-101.
Schiffrin, Deborah (1987). Discourse Markers. Cambridge: Cambridge University
Press.
Yule, George (1996). Pragmatics. Oxford: Oxford University Press.
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. XXXV (2010)
Annual Review of the Faculty of Philosophy, Novi Sad. Volume XXXV (2010)
petrovacki@nscable.net
UDK 811.163.41367.3
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454
Ljiljana Petrovaki
COGNITION PROCESSES OF SYNTACTIC TERMS
IN TEACHING OF SERBIAN LANGUAGE
Sammary
In this paper, we observe gradation and systematization of the processes of cognition of syntactic terms in teaching of Serbian language in elementary school and high school
and their continuity. We point out to the necessity of connecting the student knowledge of
the syntax and semantics with the morphological one, which is perfunctory for students successful understanding and analysis of the structure of syntactic constructions, their functions
and meaning. As an example, we present the possibilities of continuous learning and gradual
expansion of knowledge about the syntagmas.
Key words: Serbian language, syntax, methodic of Serbian language, cognition of
syntactical terms, syntagmas
455
2
21000
: +381214853900
www.ff.uns.ac.rs
300
CIP
,
1+80/82(058)
= Annual
review of the Faculty of Philosophy /
: , 1956, .
1-1975. . 18 ; 1990. . 19- . :
, 19561975; 1990. 23 cm
.
. 1976. 1989. .
ISSN 03740730
COBISS.SR-ID 16115714