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Editorial
Non-thematic issues always represent a challenge, mostly premised on defining and constructing a subtle thread that would, at least apparently, unify all of the numerous submitted papers, thoughts and opinions about a variety of different subjects. Sometimes the final product, the metaphoric body of our journal, is a harmonious and perhaps even optimistic reading of cultural, social and literary phenomena, while on some other occasions the projected and articulated themes and ideas tend to be a bit harsher, stronger and more explicit in their nature. Such is the issue in front of you; in spite of the cheerful and celebratory time of the year, the segment dedicated to culture and literature is defined by the somewhat gloomy overtones of the presented ideas, merging silently with the foreboding shadows and the unfriendly figure insidiously dominating our cover. However, the articulated themes and analyses, while inclined toward the darker states and altered perceptions of reality, still form a rich tapestry of research and scrutiny, actively and significantly contributing to contemporary debates on the subjects at hand....
Frequent lexical patterns can explain how language, society and culture interact. In this paper, we analyze the most frequent adjectival collocates which precede lemmas WOMAN and MAN, by searching the node words woman, women, man and men in the British National Corpus (BNC) using the statistical procedure list. The primary postulate is that frequent collocational patterns reveal common societal and cultural concepts. The research is based on Sinclair’s theory about how frequency points to what is typical and central in a language (17). Furthermore, Stubbs’s understanding of a community’s value system being built up and maintained by the recurrent use of particular phrasings in texts (Words and Phrases 166) is explored through the repetition of lexical patterns in the corpus, thus exposing dominant cultural models. Keywords: WOMAN, MAN, BNC, frequency, collocates, language, society, cultureMichael Stubbs’s principle that “language in use transmits the culture,” by which he provides his ...
i tako čitava života.(Boscalt)Misaelu AlermuU cik zore, kada se prođu Sobrebosc i Teieda, vidi se kako izlazi tekst, sjajan i velikih ruku, koji crtamo ili pišemo, koji hoda i vidi nas gdje dolazimo.No, kada se smrači, diže se i sve nam obavije; i kreće se među stablima, ne bi li mu pokazao puteve i mjesta na kojima se krije.Víctoru SunyoluMost je, ili ne, tek prijelaz, da, prijelaz, koji postavljaš jer želiš preko rijeke, pa uzimaš trupce i brezovu koru i nešto kamenja i odjednom to više nisu trupci ni brezova kora ni kamenje: to je most, ili ne, tek prijelaz, da, prijelaz.Postavio si ga da bio prešao preko i da zatim padne; no ispada da si prešao rijeku i da si na istoj strani kao i prije pa sad tražiš još trupaca i breza i kamenja…[FRAGMENT]Joanu Ferreru GracijiKada spusti se Noć, stvari se približavaju i nalikuju jedna drugoj; no, kada svane Dan, malo pomalo, nalikujući jedna drugoj, odvajaju se, kao stabla od zemlje ili riječi od tijela.Za Mariliin Vassenin
Faruk Šehić je jedan od najpoznatijih, najpriznatijih i najboljih savremenih bosanskohercegovačkih i slavenskih pisaca koji je putem prevoda, do sada prvenstveno njegovog slavnog romana Knjiga o Uni (2011) na mnoge jezike, već afirmisan i u svjetskoj književnosti. Bogatstvo i visprenost njegove književnosti, kako proze, tako i poezije, u kombinaciji s jednostavnošću njegovog bića, onom kompleksnom jednostavnošću kakvu mogu imati samo vrhunski intelektualci, i to čovjek koji misli – koji je, dakle, prvo čovjek, a onda biće koje misli, za razliku od pukog mislioca, kako je to o američkom učenjaku rekao američki pisac Ralph Waldo Emerson u svom govoru održanom na Harvardu, 31. 8. 1837. godine, a što se može odnositi i na univerzalnog intelektualca – već su uveliko obilježili bosanskohercegovačku i post-jugoslovensku regionalnu književnost i pojavnost. Do sada je objavio sljedeće knjige: Pjesme u nastajanju (2000), Hit depo (2003), Pod pritiskom (2004), Transsarajevo (2006), Hit depo, Pod ...
Knjiga Mirne Sindičić Sabljo, utemeljena na autoričinoj doktorskoj disertaciji iz 2013. godine, kako i naslov precizira, predstavlja sustavan, a treba pridodati i osobito temeljit, uvid u šezdesetogodišnju kazališnu, književno-povijesnu i kritičku recepciju iznimno važnog i vrlo utjecajnog odvjetka novije francuske dramsko-kazališne povijesti, u širem kontekstu poznatijem pod uopćenim Esslinovim terminom "teatar apsurda" koji okuplja niz, više ili manje srodnih, dramatičara iz Europe, ali i Sjeverne Amerike. Premda se pojam "teatar apsurda" udomaćio u hrvatskoj kritičarskoj i znanstvenoj terminologiji, autorica se ipak radije priklanja pojmovniku francuske književne kritike koja koristi termin Le Nouveau Théâtre naglašavajući kako nije riječ o sinonimima. Navedeni termin naime pod svoje okrilje okuplja dramske autore "koji su pisali na francuskom jeziku, između 1947. i 1968. godine, a koji se ne mogu vezati uz tradiciju francuskoga bulevarskog, politički angažiranog ili literarno-filoz...
The limitations of Chinese transcription and the domination of Chinese scripts in print cause a difficulty in reflecting the otherness of Chinese foreign terms in English. The discrepancy among Chinese dialects has also brought about challenges. A novel form of translating Chinese foreign terms in The Joy Luck Club was invented in order to improve the representation of otherness. Since the publication of the first Chinese version of the novel, better results have been demonstrated in more recent retranslations of The Joy Luck Club. Fewer deletions and less mistranslation indicate an improvement in the latest retranslations in comparison to the older versions. On the basis of a result-oriented analysis, supported by data and real-time reading experience, this study discusses linguistic and non-linguistic factors in translating Chinese foreign terms in English in The Joy Luck Club into five Chinese and one Japanese version. Reflecting otherness can provide an accurate translation whereas...
The paper examines some of the Gothic features used in character development in William Faulkner’s Absalom, Absalom! and Toni Morrison’s Beloved, and explores how the two novels complement each other to form a comprehensive picture of the American South around the Civil War. In the traditions of Gothic realism and postcolonial Gothic respectively, the authors describe the 19th-century South as populated with supernatural beings: demoniac slaveholders, monsters who try to fight oppression, zombies whose souls have been devoured by the oppressive system, ghosts and revenants who return to haunt their wrongdoers, and hybrids whose transgressive nature is feared by the oppressors and the oppressed alike.Keywords: American Gothic, American South, character development, slavery, hybrids, monsters, ghostsEven though, as Allan Lloyd Smith points out in his survey of the 19th-century American Gothic, American writers like James Fenimore Cooper and Nathaniel Hawthorne complained that the New Wor...
