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Na tragu pojma "centripetalnih sila" Zdenka Lešića, te njegove nadogradnje u teorijskoj misli Envera Kazaza, ovaj rad je pokušaj daljnjeg izvođenja teza o mogućnosti prepoznavanja konkretnih točaka u ...povijesti bosanskohercegovačke književnosti kao trenutaka prevladavanja spomenutih sila. Metodologija se sastoji od analize znanstvenih i kritičkih tekstova na prvoj razini, te njihovog kontekstualiziranja unutar kulturnih, ali i društveno-političkih prilika. Takav pristup nam omogućava da ovu sinkretičku kulturu visokog stupnja heterogenosti sagledamo o dijakronijskoj perspektivi i učimo izmjene faza spajanja i razdvajanja. Pokazuje se kako su te točke također u velikoj mjeri determinirane političkim i društvenim kretanjima, kao i da su oko tih faza suglasni različiti znanstvenici i kritičari. Stoga je cilj rada najprije detektirati i izdvojiti faze književnog stvaranja koje bi mogle predstavljati čvrste točke spajanja, a zatim stečene uvide koristiti u proučavanju specifičnog suvremenog trenutka bosanskohercegovačke književnosti. U njemu, naime, nailazimo na mogućnosti uspostavljanja novih točaka čiju punu realizaciju priječi kontekst društveno-kulturnog razjedinjenja.
Following the term “centripetal forces” created by Zdenko Lešić, which was further theoretically developed by Enver Kazaz, this paper is an attempt at a further derivation of the thesis on the possibility of recognizing specific points in the history of Bosnian-Herzegovinian literature as moments of overcoming these forces. The employed methodology combines the analysis of scientific and critical texts and their contextualization within cultural, but also social-political, conditions. This is what enabled us to identify that in the diachronic perspective of this syncretic culture with a high level of heterogeneity stages of connecting and separating alternate. It was also noticed that these points are largely determined by political and social trends, and that there is a consensus among scientists and critics about these stages. Therefore, the goal is to first detect and separate the stages of literary production that could represent firm connection points, and then to use those insights to analyze specific contemporary Bosnian-Herzegovinian literary moments in which we find possibilities of establishing new connection points. However, their full realization is prevented by the context of social-cultural disunion.
U radu su predstavljeni rezultati pragmastilističke analize drame
Gospođa ministarka
(1929) srpskog pisca
Branislava Nušića. Riječ je o drami s obilježjima komedije situacije, komedije karaktera i ...satire, u kojoj su podjednako zastupljeni verbalni i situacijski humor. Analiza je provedena s ciljem utvrđivanja pragmatičkih sredstava i strategija postizanja verbalnog humora zastupljenih u drami, a pri njezinu provođenju korišten je pojmovni aparat preuzet iz suvremenih lingvističkih, prvenstveno pragmatičkih teorija humora zasnovanih na pojmu nekongruentnosti. U prvom dijelu rada predstavljen je teorijski okvir istraživanja, dok je drugi dio posvećen analizi. U njemu su na izabranim primjerima iz drame demonstrirani i analizirani najfrekventniji pragmatički okidači humora, koji su podijeljeni u tri skupine: (1) okidači koji se zasnivaju na izigravanju/kršenju kooperativnog principa, a ostvaruju se prijenosom implicitnih značenja, (2) okidači koji se zasnivaju na izigravanju/kršenju principa uljudnosti, a ostvaruju se posredstvom neuljudnih i lažno uljudnih iskaza, (3)
šarolik jezik
dramskih likova, koji se ogledava u frekventnoj upotrebi ekspresivnih izraza
te upotrebi neprikladnog i neočekivanog jezičnog registra.
The paper presents a pragma-stylistic analysis of the play The Minister's Wife (1929) by the Serbian writer Branislav Nušić. This play contains both verbal and situational humour, and shows characteristics of situation comedy, comedy of character and satire. The analysis was carried out with the aim of determining the pragmatic means and strategies for achieving verbal humour in the play. The theoretical apparatus was taken from the contemporary linguistic (primarily pragmatic) theories of humour, which are based on the concept of incongruity. In the first part of the paper, the theoretical framework of the research is presented, while the second part is devoted to the analysis. The most frequent pragmatic triggers of humour are demonstrated and analysed onselected examples from the play. These triggers are classified into three groups: (1) triggers based on flouting/violating the cooperative principle, which is reflected in the transmission of implicit meanings, (2) triggers based on flouting/violating the principle of politeness, which is reflected in the use of impolite and falsely polite utterances, (3) colourful language of dramatic characters, which is characterized by the frequent use of affective expressions and the use of inappropriate and unexpected register.
Neposredan povod ovom tekstu objava je knjige Joža Skok / Prilozi povijesti hrvatske kajkavske i dječje književnosti: Zbornik radova u povodu 85. obljetnice autorova rođenja (Priredio Ernest Fišer, ...Tonimir, Varaždinske Toplice, 2016.), dok je namjera ovog teksta kroz prikaz navedenog zbornika ocrtati nemjerljiv doprinos Jože Skoka znanstvenoj valorizaciji hrvatske kajkavske i dječje književnosti. Stoga se u ovom tekstu, dosljednim citiranjem mnogih važnih naglasaka iz stručnih prinosa 45-ero autora sintetiziraju ključni naglasci opisa znanstvenih, antologičarskih, uredničkih i inih doprinosa Jože Skoka hrvatskoj kajkavskoj i dječjoj književnosti.
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