On December 16, 2022, a bilateral Slovenian-Croatian phraseology working meeting was held at the Faculty of Arts of the University of Ljubljana, at which the state of phraseology in Slovenia and ...Croatia was updated in a very concise manner. The organizer was the Faculty of Arts in Ljubljana and, within this institution, the Department of Slovene Studies. The expert discussion took place according to thematic blocks, namely: 1) Methods, approaches and reviews, 2) Phraseology in dictionaries, 3) Teaching and learning phraseology, and 4) Current phraseological research. It has been confirmed that such working international meetings with the much-needed exchange of expert opinions and experiences are necessary for the smooth development of the profession and at the same time are also invaluable for their vision within the wider linguistic activity.
The Dictionary of Standard Slovenian Language (SSKJ 2014) uses seven types of labels (qualifiers). The present article focuses on the style-genre label nar. (dialectal), further specified as vzhodno ...(eastern). There are 414 entries so labelled in the SSKJ2. This survey will focus on verbs only (98), labelled as dialectal eastern in the SSKJ2, comparing them to those found in Rajh’s material for his dialectal dictionary of Prlekija dialect Gúčati po antùjoško (2010), as well as in The Slovenian Orthography (Slovenski pravopis – SP 2001). The aim is to point out the importance of incorporating the current dialectal vocabulary into the normative manuals, as well as the importance of their labelling being a great help for teachers, language editors, translators, etc.
Although in the early days of generative linguistics Slovenian was rarely called on in the development of theoretical models, the attention it gets has subsequently grown, so that by now it has ...contributed to generative linguistics a fair share of theoretically important data. With 13 chapters that all build on Slovenian data, this book sets a new milestone. The topics discussed in the volume range from Slovenian clitics, which are called on to shed new light on the intriguing Person-Case Constraint and to provide part of the evidence for a new generalization relating the presence of the definite article and Wackernagel clitics, to functional elements such as the future auxiliary and possibility modals, the latter of which are discussed also from the perspective of language change. Even within the relatively well-researched topics like wh-movement, new findings are presented, both in relation to the structure of the left periphery and to the syntax of relative clauses.
Vinko Moderndorfer (1894-1958) firstly published the Carinthian folk tale Mojca Pokrajculja in 1924 in the collection National Tales from Mežica Valley. In the next (extended) editions of ...the Carinthian Folk Tales (1937, 1946, 1957 and 1972) he published similar tales Deklica veka The Girl is Crying and Mojca Pokrajculja. Although both well-known, the place in the Slovenian Primary School Curriculum for 1 grade (2011) has text Mojca Pokrajculja , which is also better known. On the basis of the international classification (Uther 2004, 2011) Monika Kropej (2012, 2015) suggested for this tale classification under the number ATU 283C*. The basic type can include the motifs of folktale types ATU 15 (The Theft of Food by Playing Godfather ), ATU 283B* (The House of the Fly) and ATU 480A (Girl and Devil in a Strange House), and even the type ATU 123 (The Wolf and the Kids) or ATU 333 (Little Red Riding Hood). In literarure can be find intertextual reminiscences (Juvan 2000) with the Grimm folktale Wedding of Mrs Fox (KHM 38, ATU 65 The She-Fax's Suitors). Due to intertextuality Mojca Pokrajculja can be classified also as Formula Tale or Chain Tale, based on the sequence of animals (chains based of numbers, objects, animals, names, death, eating and other events).
For Slovenians, who became a national minority in Italy, the new border demarcation resulting from the Paris Peace Treaty in 1947 opened a new chapter of political engagement, with the formation of ...new political parties with clear ideological and national profiles. There were significant differences in the political field among Slovenians who lived in the provinces of Trieste, Gorizia and Udine, stemming from different historical, social as well as national contexts. Ideological differentiation was also prominent in 1947, further “enriched” in 1948 by the dispute between Yugoslavia and the Soviet Union following the Cominform resolution. Ever since the pre-war times, a dividing line had been based on two concepts of political action: independent Slovenian political engagement on the one hand and integration into Italian parties on the other.
Working within a postmodern style, this rhythmic and melodious collection of poems originally written in Slovenian by Cvetka Lipus and translated here by Tom Priestly, blends the real with the ...surreal, dull urban lives with dreams. Lipus, known for the lexical beauty of her work, dwells on topics of time and space which she handles in an almost revolving, irreverent manner. Priestly captures the maze-like characteristic of her verse and carefully reconstructs the sonoric beauty of the work in its original language.
This article deals with Slovenian poetry written by women in the last two decades and focuses in particular on the use of so-called external dialogism. In the introductory section, I present a brief ...outline of the historical position of women poets in the Slovenian literary system along with structural changes that have occurred since 2000. Although these changes have had a positive influence on both poetic production by women and on its overall reception, statistical data reveals that the Slovenian literary field remains largely phallocentric. In the second section, we analyse recent women’s poetry published in Slovenia, finding in it many of the female attitudes toward the patriarchal symbolic order identified by Julia Kristeva: namely, accommodation and appropriation, and subversion through an exploration of its constitutive mechanisms. At the same time, we argue that all phases in the development of women’s writing defined in Elaine Showalter’s gynocritic are present in contemporary Slovenian women’s poetry: protest, imitation and accommodation, self-discovery and self-exploration. Although Saša Vegri was one of the first to begin this emancipatory process in late 1960, radical critiques of the symbolic order appearing in women’s poetry were rare and sporadic, and the majority of women poets in subsequent generations drew upon the same patrilinear tradition at the beginning of their poetic careers. In the generation of women poets born around 1970, the emancipatory approach was followed most systematically in Taja Kramberger’s poetry, and in the next decade in the work of Alenka Jovanovski and Ana Makuc. Female authors of the 1960 generation, Barbara Korun and Maja Vidmar, also increasingly stepped out of the accommodational mechanisms of patriarchal structures and began to investigate the neuralgic points of the symbolic in a more daring manner. Authors confronting patriarchally-formed mental, socio-cultural, and enunciative patterns generally use two strategies in reconstructing their own discursivity: the concept of the fictive persona, and the dramatic monologue. We provide a brief historical outline of these poetic techniques, incorporating both in so-called external dialogism, a category drawn from Bakhtin’s typology of dialogic relations in prose fiction and transposed onto lyric discourse. In the rest of the paper, we analyse poetry collections by Taja Kramberger, Katja Gorečan, Barbara Pogačnik, Barbara Korun, Ana Makuc, and Maja Vidmar. The theoretic framework for the analysis is a reconceptualized view of the lyrical subject, using concepts such as focalization in the analysis of the lyric. The article comes to the conclusion that the persona poem and the dramatic monologue are principle strategies used to explore the intimate and social habitus that had so long been maintained in silence, the very gesture of acquiring voice undertaken by hitherto “fragile” subjects – women, animals and even plants – endowed with the symbolic value of the subversive and transformative impulse.
The article attempts to detect and describe the change of the paradigm in contemporary Slovene poetry. If most of the Slovene poetry after the Second World War, or to be more precise, from the late ...1950s onwards, was written in the modernist key, with the “serious” existential themes and often dark and hermetic speech as prominent features, we may assume that in the 1980s this kind of poetry was slowly beginning to disintegrate. Although in this decade the so-called neo-avant-garde (or ultramodernist) poetry, which surfaced in the 1960s, became almost obsolete, the poetry of Tomaž Šalamun, the leading voice of the Slovene neo-avant-garde poetry, functioned as some sort of the major catalyst for the new poetry. If we may borrow the distinction between the “cooked” and “raw poetry”, first used by Robert Lowell with regard to the new American poetry of the 1950s and 1960s, we can detect such new poetological tendencies that focus on the mundane themes of the everyday urban life, often written in a spontaneous and sometimes colloquial language, free of formal and metaphysical maneuvers of the so-called “academic”, “cooked”, or “moderate” modernism. To illuminate this poetological transition, the article focuses on the year 1991, which coincides with the disintegration of Yugoslavia and the formation of Slovenia as a new national state. In this year, many of the new young poets started their poetical careers. The brief analysis of the poetical debuts of the poets such as Brane Senegačnik, Vid Snoj, Miklavž Komelj, Jurij Hudolin, Peter Semolič, and Uroš Zupan attempts to demonstrate that most of the poets are still indebted to the modernist paradigm (with Dane Zajc and Niko Grafenauer as its main representatives), but nonetheless, in some cases, the traces of the new, “cooked” urban and narrative poetry can be observed on the margins of these debuts. These elements, however, are the most prominent in the book Sutre, written by Uroš Zupan, who also happens to be most influenced by the poetry of Tomaž Šalmun on the one hand and the American poetry of the beat generation and New York School on the other. These influences were of the utmost importance in the first stage of the new poetic paradigm that at the beginning of the 1990s strove to overcome the modernist literary tradition. The poetry of Uroš Zupan thus paved the way for the new mainstream of the contemporary Slovene poetry that appeared in the new millennium.
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