Suchergebnisse

This paper is based on the material collected according to the pronunciation of professional speakers on the Radio Television of the Republic of Srpska and shows that in modern Serbian of the Ijekavian dialect words are most often pronounced without transferring the accent. It is quite common to transfer the accents from some forms of personal and demonstrative pronouns, although even then words are more often pronounced without transferring. In the forms of some other pronouns transferring occurs by exception. Stress transfer from nouns to the proclitic it is also rarely realised. Transferring is required to the proclitic ne in the negative forms of the present in the pronunciation of the professional speakers whose dialect base is the northwestern branch of the Herzegovina-Krajina dialect, which is also the case in other dialects. Anyway, in modern speech, in the transferring of accents, it is possible only from one-syllable and two-syllable words to monosyllabic proclitic, while the transferring from multi-syllable words and to monosyllabic proclitic completely disappears.

This paper aims to examine the relationship between language and gender in the Italian language, with specific reference to the names indicating professions. The work is divided into two parts: in the first part a general picture of the situation is outlined through a synthesis of the most significant academic and institutional contributions in the field of language and gender studies in Italy, with particular reference to the Raccomandazioni per un uso non sessista della lingua Italiana by Alma Sabatini. Furthermore, some basic hints are given of the morphological mechanisms of formation of the feminine of nouns that indicate feminine professions. The second part, on the other hand, consists in analysing the presence of the feminine of professional names in two prestigious Italian dictionaries available online: De Mauro and Il Sabatini Coletti. The final objective of the analysis is to examine to what extent recommendations and initiatives aimed at the use of the female gender for professional qualifications have been put into practice.

The aim of this article is to explore the advantages of the employment of humour in foreign language teaching for teachers and adult learners. How could teachers and learners in foreign language instruction benefit from improved humour awareness and developed humour competence? The paper reviews major definitions, theories, functions, and types of humour from multidisciplinary humour research, and examines the role of humour in foreign language instruction in view of important empirical findings and current requirements for foreign language speakers as stated in Common European Reference for Languages (2020). Conclusions suggest which kinds of humour should be incorporated into a contemporary foreign language classroom, and why. Further study recommendations are proposed that would allow for more effective applications of humour in modern adult foreign language education.

This paper presents the analysis of Griselda, the main female character of the last novella of Decameron. Tis novella has had different classical and feminist interpretations due to its central position and the violence caused to Griselda by her husband, marquis Saluzzo. The main methodological tool used in this article is the one applied by Marilyn Migiel in her works The Ethical dimension of the Decameron and A Rhetoric of the Decameron, the rhetorical reading. The same tool, through the close analysis of the speech acts of Griselda shows us her powerless social position and the lack of self-awareness, but also the carelessness showed by mainly male critics in the process of analysing this novella.

Review of: Popov, Jovan (2020), Pojmovi, periodi, polemike, Beograd: Srpska književna zadruga.

Review of: Samardžić, Biljana (2019), Starostavne goraždanske knjige. Ortografija i jezik knjiga Goraždanske štamparije, Beograd – Banja Luka: IK "Filip Višnjić" – SPKD Prosvjeta, str. 423, ilustr.

Review of: Svetozar Ćorović (1875−1919) (2020), tematski zbornik, urednik Jovan Delić, Banja Luka: Akademija nauka i umjetnosti Republike Srpske i Centar za srpske studije.

This paper deals with the selection and the lexicographic treatment of figurative expressions in two dictionaries: a French-Serbian dictionary for elementary school students and an Italian-Serbian dictionary for elementary and secondary school students. First, the corpus is processed for the purpose of quantitative comparison of figurative expressions, then 18 related words from each dictionary are singled out in order for qualitative similarities and differences to be more thoroughly examined, with, finally, the same words being analysed by means of general two-way dictionaries. The highlights of the analysis are as follows: the number of marked figurative expressions is disproportionately greater in the dictionary intended for both elementary and secondary school students; translation equivalents are identical or very similar in both school dictionaries, with the exception of the way they are marked; both school dictionaries feature examples for all figurative meanings; and, the number of figurative meanings in school dictionaries is lower than in general dictionaries, but the former show more consistence with regard to their marking and exemplifying. As far as the results are concerned, they are interpreted through the prism of lexicological, lexicographic, and didactic factors. In the end, the author conclude(s) that an appropriate treatment of figurative expressions is one of the key reasons why two-way school dictionaries are still an indispensable tool in foreign language teaching.

This paper analyses the works by Branko Milanović, generated over a period of almost forty years, dedicated to the analysis of various aspects of Ivo Andrić's literary oeuvre. Milanović is one of the most qualified interpreters of this oeuvre, given the fact that he was among the first scholars within the scope of the Yugoslav literary science to have produced a PhD dissertation on Andrić and to have published a book on his works. There are several thematic issues that mark Milanović's prolonged interest in this matter, centred around Andrić's literary beginnings, the atmosphere and nature of his early works, his narrative pieces featuring questions of artistic expression and the essence of art, as well as around the foundations of Andrić's poetics, revealed in his literary works and essay and critical writing, and, finally, his novels. This analysis shows that Milanović, as early as upon acquiring his PhD title, embarks on a unique, argument-based interpretative path, constantly juxtaposing Andrić's fiction and non-fiction. Gathered in one place, Milanović's writings on Andrić confirm him as being one of the foremost interpreters of the latter's oeuvre.