Colloquia Humanistica最新文献

{"title":"The Akritic Hero in Byzantine and Macedonian Epic Poetry","authors":"Витомир","doi":"10.11649/CH.2018.009","DOIUrl":"https://doi.org/10.11649/CH.2018.009","url":null,"abstract":"The Akritic Hero in Byzantine and Macedonian Epic PoetryComparative analysis of the most prominent heroic characters of Byzantine (Armouris and Digenes) and Macedonian (King Marko) epic poetry uncovers numerous contact points that reveal the close relation between these two cultures over a longer period of time. By using the term “akritic hero” or border warrior in Byzantine and the term kraishnik in Macedonian epic poetry, the paper analyses the relation between these two representations of the same type of epic hero. Complex concordance is explored on several levels which illustrate several characteristic features of the Byzantine akritic heroes Digenes and King Marko in traditional Macedonian epic poetry. Both Digenes and Marko are lone horsemen roaming in restricted territory (Cappadocia andMacedonia), they fight as individuals with distinguished opponents and even with armies, and win the fights, slay the dragon in identical manner, there are occurrences of child-heroes in the songs and the institution of avunculate is particularly emphasised in the act of initiation etc. Unlike monolithic character of Homeric heroes, in Byzantine and Macedonian epic poetry both Digenes and Marko are significantly more complex and occasionally inconsistent characters which is due to their centuries-long shaping in territories where different cultural influences are interwoven. Bohater z pogranicza w bizantyjskiej i macedońskiej poezji epickiejAnaliza komparatystyczna najbardziej wyrazistych postaci w bizantyjskiej (Armuris i Digenis) i macedońskiej (Królewicz Marko) epice ujawnia szereg punktów wspólnych, co świadczy o bliskich kontaktach pomiędzy tymi dwiema kulturami w długim okresie czasu. Na przykładzie pojęcia akryty, to znaczy żołnierza z pogranicza [Cesarstwa Wschodniorzymskiego], który w macedońskiej epice jest nazywany pogranicznikiem i jest nośnikiem takiego samego znaczenia (jak termin akryta), w artykule analizowany jest wzajemny stosunek tych dwóch odmian tego samego typu bohatera epickiego. Kompleksowa analiza uwidacznia podobieństwo na wielu poziomach, przy czym akryta - pogranicznik Królewicz Marko w macedońskiej tradycyjnej poezji epickiej odznacza się szeregiem charakterystycznych cech właściwych akrycie. Tak oto, i Digenis, i Karólewicz Marko są samotnymi wojownikami, którzy poruszają się po ograniczonej przestrzeni (Kapadocja i Macedonia), stają samotnie do dwuboju z wybitnymi przeciwnikami, a nawet z całymi armiami i wychodzą z nich zwycięsko, w ten sam sposób pokonują żmija, w pieśniach o nich występują dzieci-junacy, przy czym w obydwu kontekstach (bizantyjskim i macedońskim) jest kładziony akcent na instytucję awunkulatu (avunculus), co ma szczególne znaczenie w kontekście aktu inicjacji, itd. W przeciwieństwie do monolitycznego charakteru bohaterów homeryckich, w bizantyjskim i macedońskim eposie, Digenis i Królewicz Marko są postaciami o wiele bardziej kompleksowymi i wewnętrznie sprzecznymi, co wynika z ich wielowiekowego poetyckie","PeriodicalId":53744,"journal":{"name":"Colloquia Humanistica","volume":"1 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2018-12-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42245986","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Late Baroque Manuscript \"Supplicant of the Sinner to the Lord Jesus\". Eschatological Reflections","authors":"Joanna Panasiuk","doi":"10.11649/CH.2018.012","DOIUrl":"https://doi.org/10.11649/CH.2018.012","url":null,"abstract":"Late Baroque Manuscript Supplicant of the Sinner to the Lord Jesus. Eschatological ReflectionsThe scope of observations in this article will be concerned by Supplicant’s Song of the Lord Jesus(inc. \"Jesus, my merciful ...\"), belonging to the so-called the popular area. This text was found in a handwritten collection dated to 1744, belonging to the Discalced Carmelite Nuns in Krakow. In this song, we can identify - as a result of eschatological reflections - the idea of contemptus mundi (contempt of the world), originating from the middle ages. Późnobarokowy rękopis Supliki grzesznika do Pana Jezusa. Eschatologiczne refleksjeZakres obserwacji wyznaczy tu należąca do nurtu tzw. popularnego pieśń Suplika grzesznika do Pana Jezusa (inc. „Jezu mój litościwy…”). Tekst odnaleziono w rękopiśmiennym zbiorze datowanym na 1744 rok, należącym do biblioteki karmelitanek bosych w Krakowie. W pieśni – na skutek eschatologicznych refleksji - uobecnia się idea contemptus mundi (pogardy świata), wywodząca się z wieków średnich.","PeriodicalId":53744,"journal":{"name":"Colloquia Humanistica","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2018-12-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46982433","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Introductory Comments","authors":"J. Sujecka","doi":"10.11649/ch.2018.001","DOIUrl":"https://doi.org/10.11649/ch.2018.001","url":null,"abstract":"Introductory CommentsThe ninth issue of Colloquia Humanistica (2020) contains a thematic section entitled Sephardim, Ashkenazim and Non-Jewish Peoples: Encounters Across Europe, but in fact the whole issue is devoted to Jewish topics.In the Materials, Sources, Archives section, this time we present four papers which deal with relevant religious texts, literature, biography and, finally, historical documents. In the Discussion. Presentations. Book Reviews segment we offer readers two reviews of interesting books, and also one paper which, through the scholar’s personal biography, reflects on how snippets of the Jewish past tend to linger on in the form of absent presences. Uwagi wstępneDziewiąty numer „Colloquia Humanistica” (2020) zawiera blok tematyczny zatytułowany: Sephardim, Ashkenazim and Non-Jewish Peoples. Encounters Across Europe, jakkolwiek cały rocznik jest poświęcony tematyce żydowskiej.W dziale Materials, Sources, Archives tym razem publikujemy cztery artykuły, które prezentują ważne teksty religijne, literackie, biograficzne, wreszcie dokumenty historyczne. W dziele Discussion. Presentations. Book Reviews oferujemy czytelnikom dwie recenzje interesujących monografii, a także artykuł, w którym poprzez refleksję zawartą w osobistej biografii badacza, autor zastanawia się, jak fragmenty żydowskiej przeszłości trwają w formie nieobecnej obecności.","PeriodicalId":53744,"journal":{"name":"Colloquia Humanistica","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2018-12-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47068316","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"As a Wall Came Down…. New Boundaries, New Narratives (Yugoslavism and Yugoslav Artistic Space, Discontinuity and Fragmentation in the Core Narrative of the Cultural Institutions in Transition-Period Serbia)","authors":"Tijana Vuković","doi":"10.11649/CH.2018.007","DOIUrl":"https://doi.org/10.11649/CH.2018.007","url":null,"abstract":"As a Wall Came Down… New Boundaries, New Narratives (Yugoslavism and Yugoslav Artistic Space, Discontinuity and Fragmentation in the Core Narrative of the Cultural Institutions in Transition-Period Serbia)The main aim of this overview is to trace the presence and importance of the Yugoslav narrative (dedicated to a common cultural and artistic space before, during and after Yugoslavia) as important for (re)creating and maintaining continuity and coherence in the core narrative as an internal structure of cultural institutions in Serbia, especially in the transition period (2000 – 2018). The emergence of the South Slavic unity idea at the territory of the Balkans, as we argue in the article, can be traced to a time long before the state of Yugoslavia was created as a concept. The fact that a common field (common ground) in the sense of cultural space existed long before the creation of Yugoslavia contains the assumption that common cultural ground and art space exist in the post-Yugoslav period as well. The concept of the common cultural space is also known as Yugoslav Artistic Space. The main goal of the article is to shape the conclusion that Yugoslav Artistic Space, considering its tradition, still exists despite the political changes after 1989, particularly during the ‘90s and the transition process, if not in another sense, than as a core narrative of the institutions (such as the Museum Of Contemporary Art in Belgrade, for example). It also delineates the thesis that marginalization of the Yugoslav legacy leads to discontinuity, fragmentation, and a status quo position in the transition process of Serbian cultural institutions. Kiedy mur upadł… Nowe granice, nowe narracje (Jugoslawizm i jugosłowiańska przestrzeń artystyczna, dyskontynuacja i fragmentaryzacja w głównym nurcie narracji instytucji kultury w Serbii w czasie przemiany)Celem artykułu jest prezentacja obecności i znaczenia jugoslawizmu i jugosłowiańskiej narracji, jak też fenomenu jugosłowiańskiej przestrzeni artystycznej (także po upadku Jugosławii), jako czynnika podtrzymującego kontynuację i jedność głównego nurtu narracji dotyczącego struktury instytucji kultury w Serbii w okresie przemiany (2000 – 2018). Kreacja jedności jugosłowiańskiej (południowosłowiańskiej) na terenie Bałkanów, jak będzie o tym [mowa] w tekście, ma swoje początki wiele lat przed powstaniem państwa jugosłowiańskiego. Fakt istnienia wspólnego pola w sensie kulturowym i kulturologicznym przed powstaniem Jugosławii daje nadzieję możliwości istnienia jednej kulturowej i artystycznej przestrzeni także w okresie post jugosłowiańskim, za sprawą znanego i niedawno zdefiniowanego terminu „jugosłowiańska przestrzeń artystyczna” Ješy Denegri (2011). W artykule jest położony akcent na jugosłowiańską przestrzeń artystyczną wraz z jej tradycją, która, pomimo zmian politycznych 1989 roku, a szczególnie lat 90-tych, trwa nadal w bardzo konkretny sposób, w głównym nurcie narracji instytucji kultury (czego przykładem jest ","PeriodicalId":53744,"journal":{"name":"Colloquia Humanistica","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2018-12-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43454749","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Kukai as an Enlightened Transculturalist: Reweaving Cultural Threads from the Universal Womb in This Life","authors":"K. Miller","doi":"10.11649/CH.2018.004","DOIUrl":"https://doi.org/10.11649/CH.2018.004","url":null,"abstract":"Kukai as an Enlightened Transculturalist: Reweaving Cultural Threads from the Universal Womb in This LifeIt is not unusual for one to experience a transculturally induced existential crisis which could force one to make an arduous philosophical journey in order to liberate oneself from the realm of this lingua-cultural dilemma. In fact, it is this very constraint, which offers its bearer an entry through a gate to reach an evolutionarily critical threshold. No longer measurable by convention, this realm is at once simple and profound as nature itself.That Kukai (a.k.a., Kobo Daishi), the ninth century Japanese Buddhist monk, invented the Japanese syllabic alphabet hiragana remains an academic debate to this day, and may remain so as long as we remain horizontally in our search relying on traditional discursive methods. However, in this essay, the author contends that the answer to this puzzle may be revealed to us when we recognize him as a transculturalist-in-the-making, owing not only to the unique sets of situations he had encountered both at home and abroad in that particular historical period, but more importantly how he responded to them. That is, when we regard “his invention” beyond its simple renderings of Japanese phonemes, they begin to reveal themselves as a natural byproduct of his primary search—the threshold of the original transmission of Esoteric Buddhism. Kukai’s primary intention was two folds—cultural and spiritual. Publicly he had envisioned that his new government should help Japan re-orient itself as an authentic culture rather than to continue emulating the foreign ways meaninglessly following the prestigious Tang model. Personally he was in search of a method which would help one to attain enlightenment as Kukai had thought would be possible in this very life. Accordingly, the author is not hesitant to assume that Kukai, as a transculturalist, may have chosen anonymity. That is, if he had indeed sown the seed of sustainability for Japanese culture among his people linguistically through the kana syllabary and spiritually through dharma operative embodied by its emperors ritually, it was enough for Kukai that his essence should live on namelessly. In this sense, Kukai as a bodhisattva embodies the Zen koan uttered by Linji Yixuan: “If you meet the Buddha on the road, kill him.”Thusly posited, this essay will nonetheless elucidate Kukai’s transcultural footing leading up to “his” invention of kana syllabary. It will rely on the language of phenomenology, which emerged in the early 20th century West at the developing phase of the East-West cultural intercourse. Unlike the discursive Cartesian approach to categorize the East as “mysterious,” it allows its bearer to use the Western language yet empowering him/her to elucidate the source of the “structural invisible” inherent in the Eastern thought. For the latter the “structural visible” has always meant to function as its inalienable ontological partner, however ambiguously. ","PeriodicalId":53744,"journal":{"name":"Colloquia Humanistica","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2018-12-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46589817","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Chronotope of Exile in the Post-Yugoslav Novel and the Boundaries of Imaginary Homelands","authors":"Miranda Levanat-Peričić","doi":"10.11649/CH.2018.005","DOIUrl":"https://doi.org/10.11649/CH.2018.005","url":null,"abstract":"The Chronotope of Exile in the Post-Yugoslav Novel and the Boundaries of Imaginary HomelandsAlthough the chronotopic approach to the novels of exile is almost self-explanatory, certain specifics expressed by post-Yugoslav exile narrations evoke a separate chronotope interpretation. First and foremost, post-Yugoslav literature is additionally encumbered with the identity issue because the abandoned areas of the nineties for the exiled writer do not disappear at a metaphorical level, by turning into a mnemotope, but in the actual break-up of the political entity, the imaginary supranational heritage transforms itself into a kind of counterculture, mostly affirmed by exile writers. Therefore, returning to the abandoned place often becomes possible only as a return to the past. In this paper, the literary theme of exile will be followed comparatively, starting from the reflective nostalgia in the prose of Dubravka Ugrešić (The Ministry of Pain), through a global exile which reflects the history of the relationship between European persecutions and America as an unfair homeland, which breaks all identity support in the novels of Aleksandar Hemon (The Nowhere Man; The Lazarus Project), to the intra-Yugoslav, \"hereditary\" exile in the novels of Goran Vojnović (Chefurs Raus!; Yugoslavia, My Homeland), which fathers left to their sons like a curse of the genus. In the texts mentioned above, the chronotope of exile is dealt with at the level of genre, as the major, supreme chronotope, which includes or opens space to a series of specific local chronotopes, which are fundamental to exile narration. These motifs are also encountered in other genres, but in exile narration they are the bearing pillars of the genre. They are, by their nature, chronotopic because they are realised through the binary spatial-temporal categories of presence and absence, affiliation and non-affiliation, anchoring and nomadism. In this paper, I will look at three such chronotope motifs: 1) the motif of home as a non-place or a place of absence; 2) the motif of other/mirror country and other/”mirror” history; 3) the motif of return and travel (by train), which regularly invokes the stereotypical representation of the place and the past. Chronotop wygnania w powieści postjugosłowiańskiej i granice ojczyzn wyobrażonychChociaż chronotopiczne podejście do analizy powieści problematyzujących wygnanie wydaje się oczywiste, to specyficzne cechy postjugosłowiańskich powieści tego rodzaju wymagają szczególnej interpretacji koncepcji chronotopu, ponieważ literatura postjugosłowiańska jest dodatkowo obciążona kwestią tożsamości. Dla wygnanego pisarza opuszczone przestrzenie lat dziewięćdziesiątych nie znikają jedynie na poziomie metaforycznym, zamieniając się w przestrzeń pamięci (mnemotop), ale faktycznie przestają istnieć jako rzeczywisty byt polityczny. Tym samym, wyobrażone dziedzictwo ponadnarodowe przekształca się w swoistą kontrkulturę, w większości afirmowaną przez pisarzy na wygnaniu.","PeriodicalId":53744,"journal":{"name":"Colloquia Humanistica","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2018-12-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47152676","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Image of Slovenes and Gottschee Germans in the Historical Novel \"Rebellion in der Gottschee\"","authors":"Lidija Rezoničnik","doi":"10.11649/CH.2018.006","DOIUrl":"https://doi.org/10.11649/CH.2018.006","url":null,"abstract":"The Image of Slovenes and Gottschee Germans in the Historical Novel Rebellion in der GottscheeThis article surveys the literature of the Gottschee Germans, the formal inhabitants of the Gottschee region in Slovenia. It begins by summarising the history and literary works of the Gottschee Germans, and secondly it deals with the historic novel Rebellion in der Gottschee by Karl Rom. The novel was published in 1938 in German. It focuses on the great peasant revolt in Slovenia (Carniola) that took place in 1515. The revolt was organised by the Gottschee Germans against the violent landlord and was soon repressed after that. Based on image studies (imagology) the article analyses the picture presented of the Slovenes and Gottschee Germans and discusses how Slavs (Slovenes) and Germans (Gottschee Germans) are represented in the novel. Wizerunek Słoweńców i Niemców z Kočevja w powieści historycznej Rebellion in der GottscheeArtykuł analizuje literaturę Niemców z Kočevja, będących niegdyś mieszkańcami tego słoweńskiego regionu. W pierwszej części została przedstawiona historia oraz twórczość literacka koczewskich Niemców, następnie uwaga skupia się na powieści historycznej Rebellion in der Gottschee (Bunt w Kočevju) autorstwa Karla Roma. Powieść ukazała się w 1938 roku w języku niemieckim, opisuje zaś wielki chłopski bunt w Słowenii (w ówczesnej Krainie) z roku 1515. Mieszkańcy Kočevja wzniecili bunt przeciwko okrutnemu właścicielowi ziemskiemu, jednak został on bardzo szybko stłumiony. Wpisując się w perspektywę imagologiczną, artykuł bada wizerunek Słowian (Słoweńców) i Germanów (Niemców z Kočevja) przedstawionych w powieści. Podoba Slovencev in kočevskih Nemcev v zgodovinskem romanu Rebellion in der GottscheePrispevek preučuje književnost kočevskih Nemcev, nekdanjih prebivalcev slovenske pokrajine Kočevske. V prvem delu kratko predstavi zgodovino in književno ustvarjalnost kočevskih Nemcev, nato pa se osredotoča na zgodovinski roman Rebellion in der Gottschee (Upor na Kočevskem), ki ga je napisal Karl Rom. Roman je izšel leta 1938 v nemškem jeziku in opisuje veliki kmečki upor v Sloveniji (v tedanji Kranjski), ki se je odvijal leta 1515. Upor so organizirali prebivalci Kočevske proti nasilnemu zemljiškemu gospodu in je bil kmalu tudi zatrt. Na podlagi imagologije članek analizira podobo Slovanov (Slovencev) in Germanov (kočevskih Nemcev) v romanu.","PeriodicalId":53744,"journal":{"name":"Colloquia Humanistica","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2018-12-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45494894","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"“Kaya” from Novella to Film","authors":"A. Kapetanović","doi":"10.11649/CH.2018.008","DOIUrl":"https://doi.org/10.11649/CH.2018.008","url":null,"abstract":"Kaya from Novella to FilmThis paper analyses the transformation of K. Quien's novella Kaya into a screenplay adaptation and a film of the same name by eminent Croatian director Vatroslav Mimica. The analysis points out both significant characteristics of the transformation of the text and the transformation of the portrayed Mediterranean urban area (a crime in Trogir), as well as the linguistic stylisation of the characters' Trogir dialect, which contributes to the atmosphere of the film. Discussion of this film has so far only unfolded on the basis of a comparison of Quien's novella and Mimica's film. This analysis thus contributes important information about the structural and narrative characteristics of the unpublished screenplay, which sheds more light on the paths towards the creation of this Croatian film,which is considered V. Mimica's best work and one of the best Croatian films. Kaya, od noweli do filmuW artykule analizowane jest przekształcenie noweli Kaya, zabiję cię K. Quiena w scenariusz adaptacji filmowej, a następnie w film pod tym samym tytułem, nakręcony przez wybitnego chorwackiego reżysera Vatroslava Mimicę. Analiza skupia się na dwóch kwestiach. Po pierwsze, dotyczy przekształcenia tekstu i obrazu przestrzeni śródziemnomorskiego miasteczka (Trogiru). Po drugie, omawiana jest stylizacja językowa, wykorzystanie cech dialektu trogirskiego, przyczyniające się do stworzenia atmosfery filmu. Dotychczasowa dyskusja o filmie jedynie powierzchownie dotykała związków z nowelą Quiena na poziomie porównawczym. Niniejszy artykuł przynosi ważne informacje o strukturalnych i narracyjnych cechach niepublikowanego dotąd scenariusza, co rzuca nowe światło na proces tworzenia filmu, uznawanego za najwybitniejsze dzieło Mimicy i jeden z najlepszych chorwackich filmów w ogóle. Kaya, od novele do filmaU ovom radu analizira se transformacija novele K. Quiena Kaja, ubit ću te preko scenarističke adaptacije u istoimeni film istaknutoga hrvatskoga redatelja Vatroslava Mimice. U analizi se ističu ne samo bitne značajke transformacije teksta nego i transformacija predočene mediteranske urbane sredine (zločin u Trogiru) te jezična stilizacija trogirskoga govora likova, koji doprinosi ambijentalnom ugođaju filma. Do sada se o filmu raspravljalo samo na temelju usporedbe Quienove novele i Mimičina filmskoga ostvarenja, pa ova analiza donosi neke važne podatke o strukturnim i narativnim značajkama neobjavljenoga scenarija, čime se jače osvjetljavaju putovi kreacije toga hrvatskoga filma, koji se smatra najboljim redateljskim ostvarenjem V. Mimice i jednim od najboljih hrvatskih filmova.","PeriodicalId":53744,"journal":{"name":"Colloquia Humanistica","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2018-12-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45233009","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Endre Bojtár (1940—2018)","authors":"Péter Krasztev","doi":"10.11649/CH.2018.013","DOIUrl":"https://doi.org/10.11649/CH.2018.013","url":null,"abstract":"","PeriodicalId":53744,"journal":{"name":"Colloquia Humanistica","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2018-12-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48743316","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Russian: A Monocentric or Pluricentric Language?","authors":"T. Kamusella","doi":"10.11649/CH.2018.010","DOIUrl":"https://doi.org/10.11649/CH.2018.010","url":null,"abstract":"Russian: A Monocentric or Pluricentric Language?All the world’s ‘big’ languages of international communication (for instance, English, French or Spanish) are pluricentric in their character, meaning, that official varieties of these languages are standardized differently in these states where the aforesaid languages are in official use. The only exception to this tendency is Russian. Despite the fact that Russian is employed in official capacity in numerous post-Soviet states and in Israel, it is still construed as a monocentric language whose single and unified standard is (and must be) solely controlled by Russia. From the perspective of sovereignty, this arrangement affords Moscow a degree of influence and even control over culture and language use in these countries where Russian is official. This fact was consciously noticed and evoked some heated discussions in Ukraine after the Russian annexation of the Ukrainian region of Crimea in 2014. However, thus far, the discussions have not been translated into any official recognition of (let alone encouragement for) state-specific varieties of the Russian language. Rosyjski: język monocentryczny czy pluricentryczny?Wszystkie „duże” języki komunikacji międzynarodowej na świecie (na przykład angielski, francuski lub hiszpański) są pluricentryczne, czyli oficjalne odmiany tych języków są inaczej standaryzowane w tych państwach, w których te języki są używane jako oficjalne. Jedynym wyjątkiem w tym zakresie jest język rosyjski. Pomimo faktu, że rosyjski funkcjonuje jako język oficjalny w wielu państwach postsowieckich oraz w Izraelu i Mongolii, to nadal uważa się go za język monocentryczny, którego normatywnie jednolity standard jest (i musi być) kontrolowany wyłącznie przez Rosję. Układ ten sprzeczny jest z zasadą suwerenności, bowiem zapewnia on Moskwie wpływ, a nawet kontrolę nad kulturą i używaniem języka w tych krajach, w których rosyjski to język urzędowy. Fakt ten został świadomie zauważony i wywołał gorące dyskusje w Ukrainie po rosyjskiej aneksji ukraińskiego regionu Krymu w roku 2014. Jak dotąd dyskusje te jednak nie przełożyły się na żadne oficjalne uznanie przez ukraińskie władze (nie mówiąc już o konkretnymwsparciu) ukraińskiej odmiany języka rosyjskiego.","PeriodicalId":53744,"journal":{"name":"Colloquia Humanistica","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2018-12-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48539425","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}