Philologist

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Authors: Željka Babić

This paper argues that it is high time for the ongoing public debate of whether Western Balkans’ foreign language departments should be transformed or not to be steered in a different direction – that on focusing on how to use the positive experiences of current teaching practices in order to improve existing foreign language teaching processes. To illustrate, this paper provides examples of restructured teaching approach practices, which are followed at the English Department of the University of Banja Luka’s Faculty of Philology.

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Authors: Saša Knežević

У овом раду ћемо настојати да покажемо како у роману „Пролом“ Бранко Ћопић устанак у Подгорини представља као револуцију, у истом духу у којем је ту традицију у српској књижевности засновао Филип Вишњић. Вишњић је епиком устанка прокламовао револуцију као потпуни преврат у свемиру који израста из појединца и прелази у масе и тај модел користи и Бранко Ћопић. Буна, као израз људске потребе да човјек, али тиме и народ, промијени своју свијест, главна је заједничка црта у поетици ова два великана српске књижевности.

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Authors: Branko Brđanin

Енциклопедијско издање поводом 50 година Театра, лапидарно констатује како је Народно позориште у Бањој Луци „открило у Ћопићевом богатом књижевном опусу изворни дах средине у којој и само дјелује, па су и она Ћопићева дјела чија је структура изразито приповједачка постала за ово Позориште истински умјетнички изазов да се тражи свој аутентичан сценски израз и створи неконвенционална представа“ (Лазаревић, Лешић и др. 1980: 71). Већ почетком друге посљератне позоришне сезоне (1946/47) изведена је његова позоришна игра за дјецу „Ударници“ или „Дружина јунака“ (25. децембра), а у три наредне деценије слиједиће комедија „Вук Бубало“ (1962) као и четири поставке драматизација прозних дјела. „Крајишке делије“ (1976) посљедње су постављање Ћопића на бањолучкој позорници за наредних тридесет година, све до 2006, када се на „истуреној сцени“ НП Републике Српске у Козарској Дубици премијерно изводи драматизација „Магарећих година“, да би – коначно – крајем 2011, на малој сцени „Петар Кочић“ премијерно било изведено „Одумирање међеда“. Доносећи панораму оцјена и одјека Ћопићевих дјела на сцени НП у Бањој Луци, рад поставља и имплицитно питање да ли се пишчев завичај достојно одужио свом највољенијем и најпопуларнијем аутору или се (уз разне „мотиве“ и „оправдања“) огријешио о овог – неспорно – великана српске литературе.

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Authors: Biljana Vlašković Ilić

Joyce’s play Exiles (1918) is considered his least successful work, especially in comparison to the complexity of symbolism and the stream-of-consciousness technique skilfully employed by Joyce in his later novels – “A Portrait of the Artist as a Young Man”, “Ulysses”, and “Finnegans Wake”. “Exiles”, however, documents two significant things: the autobiographical elements incorporated into its plot provide insight into Joyce’s complicated relationship with Nora Barnacle, whereas the play as a whole reveals the influence that Henrik Ibsen exerted over Joyce’s art. Drawing on these two aspects of the play, the paper examines the way in which James Joyce analysed the problematic relation between freedom and marriage, freedom and exile, freedom and dignity, freedom and the beauty of living. The paper favours the thesis that despite the inconsistencies of Exiles and Joyce’s inability to resolve the plot of the play, this early dramatic experiment should be regarded as the artistic work that paved the way not only towards the stream-of-consciousness technique which Joyce perfected in his subsequent works, but also towards the specific, primarily artistic perception of freedom, which is the basis for the understanding of Joyce’s celebrated novels.

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Authors: Jelena Ristanović Kuprešak, Anja Bundalo

Dans cet article, nous proposons une analyse quantitative des erreurs d’orthographe des étudiants serbophones de français de 3e année à la Faculté de Philologie de l’Université de Banja Luka. Notre objectif est d’établir à quel niveau se situent ces erreurs afin de proposer des pistes de remédiation appropriées. L’instrument de mesure choisi est la dictée. En nous référant à la répartition traditionnelle de l’orthographe française en lexicale et grammaticale, nous allons tout d’abord définir les catégories de classement des erreurs. A partir de ce cadre théorique, nous allons ensuite procéder à l’analyse quantitative des erreurs identifiées dans les dictées recueillies pendant la session d’examens de février 2015. Enfin, dans la conclusion, nous allons commenter les résultats d’analyse et énoncer les suggestions qui visent à remédier aux erreurs identifi ées.

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Authors: Jelena Mandić

Th is paper centres on William Burroughs’ writing and ideas, which changed the course of literature, and his multi-media collaborations, which generated new directions in music and film. Although primarily known for his involvement with the Beat Generation, he is one of the most prominent figures in the emergence of the postwar counterculture, a transgressive author with an absolute dedication to experimentation in narrative form and structure. He defines a literary evolution of the self in his rejection of American conservative society. Introducing the cut-up and fold-in techniques, he produces unexpected conjunctions and challenges a common understanding of the world. Much of his narratives are a working through of his thesis that the word – language – is a virus. The virus notion is accompanied by the concept of power and control defined in terms of drug addiction. Burroughs claims that dominating systems degrade us and reduce us to a level of totally repressed human beings that do not question the existing sociopolitical order and live in the accepted constructs of reality. These hidden mechanisms are also present in contemporary mass media. For this reason, he creates a new world, which liberates readers from the dominance of the established society, allowing them to form all their perception anew. His truly revolutionary ideas have inspired and creatively exhilarated many writers, musicians and artists who undertook a variety of collaborative multi-media ventures with him. These collaborations were, again, attempts to escape from authorial constraints and shape art production towards “making the words talk on their own.” They alter the complex interweave of creativity in the (post)modern age.

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Authors: Tijana Mihić Pijetlović

This paper deals with a contrastive analysis of modal adverbs in the English language and their corresponding forms in the Serbian language. The analysis is based on an eclectic model, which represents a combination of the theory of metaphorical extension and the theory of modality as epistemic deixis. The paper focuses on combinations of modal adverbs and modal verbs in which the adverb modifies, complements or transforms the meaning of the verb. A modal adverb and a modal verb may be combined provided that they both express the same or similar modal meanings. A modal adverb and a modal verb from the opposite extremes of the epistemic scale cannot be combined because of collocational restrictions. The degree of modality expressed by modal adverbs may also be additionally intensified by other adverbs, which are called intensifiers. The analysis includes syntactic, semantic and pragmatic characteristics of modal adverbs. The contrastive analysis shows that English and Serbian are typologically similar languages.

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Authors: Dalibor Kesić

Translation is practically as old as writing itself, and for almost as long as humans have been writing they have been translating. The mechanical substitution of word units can be effective under certain conditions and up to a point. Some simple forms can be converted in this way from one language to another. But if translation were solely the replacement of words, the appropriate procedure would be to consult a bilingual dictionary. This can only be feasible if there is a certain amount of equivalence in-between the languages. However, if translations are supposed to bring in information that is new to a language or culture, then they cannot be expected to be naturally equal. That is, new ideas and concepts will eventually require new terms and expressions. The twentieth century saw a blossoming of diverse approaches, each inventing useful tools to facilitate the translation process. Unfortunately, none of them provide a comprehensive clue. Equivalence operates more at the level of beliefs, or fictions, while Hans Vermeer’s skopos postulates that the most important ingredient in any translation is its purpose, viewing the process as a communicative activity performed for a specific reason. Texts are written for a specific purpose, which greatly affects and determines what the best approach to their translation should be. Grammatical knowledge should also enable the translator to distinguish between optional and obligatory forms in the language, those matters that have to be expressed as such, and those that have alternatives. To understand the ambiguities and to avoid compounding them in the process of translating, we must dismantle the languages and look at the component parts. It is important to realize that while none of the existing approaches to translation on their own can yield an infallible model, they can provide adequate raw material that can be used to devise an informed and acceptable model to guide our practical work.

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Authors: Jasna Jurišić Roljić

The form and usage of diminutives has been an interesting topic and a source of controversy among scholars. Bearing in mind structural differences between two languages such as Serbian and English, and regarding an array of meanings diminutives are able to convey, a translator tackles a demanding task when trying to deliver a message from one language into another. The labour becomes even harder if the text to translate is a popular and gentle poem ‘Ježeva kućica’ of a famous hedgehog whose bravery and wisdom reveal the everlasting truth that there is no place like home. This chapter compares Serbian noun diminutives in the poem to their equivalents in the English translation as an attempt to give an insight into translation discrepancies and how much they affect meaning, and the overall atmosphere of the literary work mentioned.

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Authors: Dijana Crnjak, Biljana Savić

Th is paper analyses zoonyms belonging to the category of Equus caballus in pastoral lexemes of Mosorovići village in upper Herzegovina in order to classify the available corpus in lexical-semantic and word-formation terms. It points to the frequency, motivation and origin of the recorded lexemes and their phonetic and formative variants.

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Authors: Rada Stakić, Belma Šator

U sveukupnom proučavanju Ćopićevog stvaralaštva nedovoljno je poznata recepcija njegovog književnog djela na njemačkom govornom području. Ovaj rad se bavi jednim segmentom te kulturne razmjene – translatološkom i kontrastivnom analizom poredbenih frazema u zbirci pripovjedaka “Doživljaji Nikoletine Bursaća”. Frazemi (frazeologizmi, frazeološke jedinice) su odraz duha i kulture jednog naroda, stvarani su na osnovu određenih slika – ponekad zajedničkih s drugim kulturama i jezicima, ali u znatnom broju toliko specifičnih da se u frazeologiji govori o njihovoj neprevodivosti. Budući da je zadatak svakog prevodioca da neprevodivo učini prevodivim, otkrivajući nam pritom vlastito razumijevanje i vrednovanje kulture u kojoj je poniklo originalno djelo, na primjeru ove analize uočiće se da je Ina Jun-Broda postigla finu ravnotežu u (ne)prevodivosti iskričavog jezika Ćopićevih junaka.

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Authors: Jonathan W. Thurston

In his narrative poem Venus and Adonis (1593), Shakespeare advances two horses, a “jennet” and a “courser,” as a means of commenting on human sexuality. The poem’s equine terminology also gestures to commonplaces of sixteenth-century horsemanship. Shakespeare appropriates the literary symbol of the horse as representative of human sexuality in order to comment on contemporary political/national relations. Gender and animality in “Venus and Adonis” prove entirely congruent with the poem’s classical republicanism. Examining Venus’s almost-Spanish imperialism reveals that, more than just being aware of hippological discourse in the classical tradition, Shakespeare was incisively cognisant of the equestrian rule that the best manège was not at all about dominance. This paper traces the etymology of Shakespeare’s equine terminology within the context of English-Spanish relations in the late sixteenthcentury.

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Authors: Snežana Šarančić Čutura

This paper discusses ambivalence humor and parody, to be the most important qualities of a literary work by Branko Ćopić. Although its roots can be sought on different sides, here they are found in the mythical conception of the binary structure of world and folk philosophy. The ambivalent principle includes the characterisation of certain literary characters, their attitude towards themselves and others, and to the world in which they live. Also, the ambivalence may be present in some literary genres (fairy tale, belief narrative genres, legend, epic poem, a curse, a blessing, a proverb). Ćopić’s relationship to time (day/ night, past/ present, history/ legend) and space, supernatural beings, life and death, reality and fiction, is also subject to an ambivalent vision. In this sense, this feature is not just an emotional layer or the ambivalent reaction of the reader, rather deep currents, the internal structure of Branko Ćopić’s literary works.

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Authors: Svetozar Koljević

Branko Ćopić’s prose largely represents a humouristic mirror of paths and by-paths in his life, from the shepherding days in his childhood, schooling in urban areas and graduating from the faculty in Belgrade to direct insights into the partisan warfare in WWII and the milieu of afterwar Belgrade. It is in his early stories such as “Muka krvava” (“Toiling”) that we are confronted with comic twists and humouristic hints in depicting the hardship of living in the country. Similarly, in stories “Zemlja koje nema” (“A Non-existent Lаnd”) and “Ni slavan ni strašan” (“Neither Famous nor Scary”) one can notice an ironic stance in the display of attempts of fleeing home in search for an easier life. His children’s stories, such as “Doživljaji mačka Toše” (“The Adventures of Toša the Tomcat”, 1954), inspired by his childhood in the country, are peppered with various experiences with animals. Finally, he discloses numerous features of partisan warfare in a humourous way in the collection titled “Doživljaji Nikoletine Bursaća” (“The Adventures of Nikoletina Bursach”, 1956), as well as encounters of country and urban culture in the novel titled “Osma ofanziva” (“The Eighth Offensive”, 1964). All these various forms of Ćopić’s humour – largely denoting the chasm between “what we dream about and what goes on around us” – was hinted at in the collection of “Borci i bjegunci” (“Soldiers and Deserters”, 1939).