Rad se
bavi leksikografskom obradom pragmatičkih informacija u suvremenim hrvatskim
dvojezičnim tiskanim rječnicima dvaju slavenskih (makedonski, ruski) te dvaju
germanskih jezika (engleski, ...njemački) s hrvatskim kao polaznim jezikom. Uvodna
poglavlja rada posvećena su definiciji pojma
pragmatičke informacije
te
utvrđivanju načina i sredstava njihova prezentiranja u rječnicima. Središnji
dio rada posvećen je analizi primjera leksikografskih opisa pragmatičkih
informacija na makrorazini i mikrorazini izabranih rječnika, dok se u završnom
dijelu rada raspravlja o mogućnostima unapređivanja njihove leksikografske
obrade.
The paper deals with lexicographic processing of pragmatic information (PI) in contemporary Croatian bilingual printed dictionaries of two Slavic and two Germanic languages with Croatian as the starting language (Croatian‒Macedonian/Russian/English/German dictionary). The introductory part of the paper deals with the definition of PI and the lexicographic ways and means of their presentation. The central part of the paper analyzes the examples of PI descriptions from the selected bilingual dictionaries, while the final chapter discusses the methodology for studying the pragmatic features of lexemes, the possibilities of enhancing lexicographic processing of PI in future, and the importance of such information for dictionary users.
Razumijemo li igrani film kao umjetničko djelo, posebno scenarijski zamišljeno, scenografski pripremljeno i glumački odigrano, kao audiovizualni medij s realističnim afinitetima čiji je fotografski ...zapis vanjskoga svijeta kao predmet analize proučavateljima oduvijek bio zanimljiviji od filmskoga govora – pa čak i onim filmolozima koji su se bavili temom auditivnih svojstava filma (Vlašić Duić 2013), u ovom će se radu film predstaviti kao medij realizacije kreativnoga potencijala jezičnoga sustava, točnije kao diskurs realizacije kreativnoga potencijala frazeološkoga jezičnoga podsustava. Odabrani žanr analize je komedija budući da je značajka te podvrste igranoga filma usmjerenost na nekonvencionalnu upotrebu jezika kao jedan od osnovnih načina postizanja komičnoga efekta. Kao reprezentativna, za potrebe ovoga rada odabrana je crno-bijela kultna komedija Lito vilovito, snimljena 1964. godine u režiji Obrada Gluščevića. Metodološki postupak analize građe obuhvaća transkripciju filma te detektiranje svih slučajeva upotrebe frazema, kako onih u frazeografski posvjedočenom obliku tako i onih frazeografski neposvjedočenih (modificiranih), ali jednako tako i pretendenata na frazeografsko bilježenje, precedentnih tekstova te govornih formula. Prikupljena građa frazeografski neposvjedočenih (modificiranih) frazema potom se interpretira kroz prizmu teorije frazeološke kreativnosti u diskursu (Zykova 2015, Zykova 2019), uzimajući u obzir sljedeće strategije: umetanje, srastanje, premještanje, bifurkacija i kombiniranje. Na kraju se donose lingvokulturološki komentari prikupljene građe.
If we understand film as an artistic medium with a special scenario, scenography, and actors, as an audiovisual medium with realistic affinity whose photographic record of the external world has always been more interesting to researchers than movie speech—even for those filmologists who were interested in the auditory features of film (Vlašić Duić, 2013)—in this paper we understand film as a medium for realisation of the creative potential of the language system, i.e. as a discourse for realisation of the creative potential of the phraseological language subsystem. We have chosen comedy as a film genre to be analysed since one of its main features is unconventional language use as one of main ways to achieve comic effect. For the purpose of this research we have used Lito vilovito (1964), one of the most famous black-and-white domestic comedy films, directed by Obrad Gluščević. Our research methodology includes transcription of the film Lito vilovito in the first step and, in the next step, detection of all phraseological units (PUs) used in the film: phraseographically confirmed PUs, phraseographically non-confirmed PUs (modified PUs) as well as pretenders to a dictionary entry, precedent texts, and speech formulae. Phraseographically non-confirmed (modified) PUs are then interpreted through the prism of the theory of phraseological creativity in a discourse (Zykova 2015, Zykova 2019), taking into consideration the following strategies: insertion, increment, recomposition, bifurcation, combination. As a result of a linguocultural approach, some PUs are accompanied by a linguocultural comment.
If we understand film as an artistic medium with a special scenario, scenography, and actors, as an audiovisual medium with realistic affinity whose photographic record of the external world has ...always been more interesting to researchers than movie speech—even for those filmologists who were interested in the auditory features of film (Vlašić Duić, 2013)—in this paper we understand film as a medium for realisation of the creative potential of the language system, i.e. as a discourse for realisation of the creative potential of the phraseological language subsystem. We have chosen comedy as a film genre to be analysed since one of its main features is unconventional language use as one of main ways to achieve comic effect. For the purpose of this research we have used Lito vilovito (1964), one of the most famous black-and-white domestic comedy films, directed by Obrad Gluščević. Our research methodology includes transcription of the film Lito vilovito in the first step and, in the next step, detection of all phraseological units (PUs) used in the film: phraseographically confirmed PUs, phraseographically non-confirmed PUs (modified PUs) as well as pretenders to a dictionary entry, precedent texts, and speech formulae. Phraseographically non-confirmed (modified) PUs are then interpreted through the prism of the theory of phraseological creativity in a discourse (Zykova 2015, Zykova 2019), taking into consideration the following strategies: insertion, increment, recomposition, bifurcation, combination. As a result of a linguocultural approach, some PUs are accompanied by a linguocultural comment.
This paper presents the analysis of Russian animalistic phraseological units included in the Russian-Croatian Phraseological Dictionary (2019). In our research we focused on etalons that have the ...simile structure. Anthropomorphism and zoomorphism are two antipodes of the same reality within the language picture of the world – in our case it is the Russian language picture of the world. We believed that the anthropocentric perspective of the animal world was stronger than the ecocentric perspective, and that it has influenced the Russian language correspondingly, which has led us to the conclusion that there must be more Russian anthropomorphic similes than zoomomorphic similes. But the analysis that we have performed within the frames of the Russian-Croatian Phraseological Dictionary has not proven our hypothesis. The findings of this study suggest that there is an equal number of anthropomorphic and zoomorphic similes within the analyzed phraseological material.
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