In his groundbreaking research on the broad phenomenon of Western visual culture in important intellectual eras, Martin Jay touches on the abundance of ocular references in Renaissance literature and cites the example of William Shakespeare whose works are replete with visual metaphors. Notwithstanding extensive research on the role of vision in Shakespeare’s works, it seems that scant attention has been paid to the Bard’s deprecation of ocularcentric culture. Shakespeare was, admittedly, not the first writer who depicted and challenged the biased privileging of sight in Western culture, but the present study focuses on the example of King Lear to show that Shakespearean drama played a significant role in reflecting the dire consequences of ocularcentrism in society. Drawing on first-hand Renaissance accounts of vision, Martin Jay’s exhaustive research into the history of ocularcentrism in the West, and James Shapiro’s historical account of the year Shakespeare’s King Lear was first performed, this study employs a New Historicist methodology to examine how Shakespearean drama marks both a turn away from the traditional hegemony of vision and a turning point in the criticism of modern ocularcentric culture in the West. We conclude that King Lear serves, among other things, to remind us that visual subjugation transcends the boundaries of time and culture and that we could all ourselves be Lears or Gloucesters, deluded by the proverbial concept that “seeing is believing”
{"title":"“LOOK WITH THINE EARS”: THE DEPRECATION OF OCULARCENTRIC CULTURE IN WILLIAM SHAKESPEARE’S KING LEAR","authors":"Javad Khorsand, Bahee Hadaegh","doi":"10.31902/fll.44.2023.12","DOIUrl":"https://doi.org/10.31902/fll.44.2023.12","url":null,"abstract":"In his groundbreaking research on the broad phenomenon of Western visual culture in important intellectual eras, Martin Jay touches on the abundance of ocular references in Renaissance literature and cites the example of William Shakespeare whose works are replete with visual metaphors. Notwithstanding extensive research on the role of vision in Shakespeare’s works, it seems that scant attention has been paid to the Bard’s deprecation of ocularcentric culture. Shakespeare was, admittedly, not the first writer who depicted and challenged the biased privileging of sight in Western culture, but the present study focuses on the example of King Lear to show that Shakespearean drama played a significant role in reflecting the dire consequences of ocularcentrism in society. Drawing on first-hand Renaissance accounts of vision, Martin Jay’s exhaustive research into the history of ocularcentrism in the West, and James Shapiro’s historical account of the year Shakespeare’s King Lear was first performed, this study employs a New Historicist methodology to examine how Shakespearean drama marks both a turn away from the traditional hegemony of vision and a turning point in the criticism of modern ocularcentric culture in the West. We conclude that King Lear serves, among other things, to remind us that visual subjugation transcends the boundaries of time and culture and that we could all ourselves be Lears or Gloucesters, deluded by the proverbial concept that “seeing is believing”","PeriodicalId":40358,"journal":{"name":"Folia Linguistica et Litteraria","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135395926","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}
Children are enthusiastic and show a keen interest in learning new skills. Learning and participation, equipped with essential life skills, ensure success in their life. Building life skills enables children to understand personal conflicts (both physical and mental) and make them aware of their environment. The folktales of various regions in the world with solid traditions expand children’sliterary horizons. Folklore inspires young minds and teachesthem to be morally, ethically,and socially conscious. Anthropomorphic narratives take children into the world of tales, keep them engaged, teaching history, tradition and value systems, and helping the individual build lifeskills. The paper focuses on realising the life skills and cultural influence imbibed in folktales and how it works on children. The article examines popular folktales from Asia, Africa, Australia, Europe, North America, and South America and examines how they operate as a tool to enable us to understand culture and life skills.
{"title":"FOLKTALES FROM SIX CONTINENTS: CULTURAL INFLUENCE AND LIFE SKILL DEVELOPMENT FOR CHILDREN","authors":"Cynthiya Rose J S, Bhuvaneswari R*","doi":"10.31902/fll.44.2023.9","DOIUrl":"https://doi.org/10.31902/fll.44.2023.9","url":null,"abstract":"Children are enthusiastic and show a keen interest in learning new skills. Learning and participation, equipped with essential life skills, ensure success in their life. Building life skills enables children to understand personal conflicts (both physical and mental) and make them aware of their environment. The folktales of various regions in the world with solid traditions expand children’sliterary horizons. Folklore inspires young minds and teachesthem to be morally, ethically,and socially conscious. Anthropomorphic narratives take children into the world of tales, keep them engaged, teaching history, tradition and value systems, and helping the individual build lifeskills. The paper focuses on realising the life skills and cultural influence imbibed in folktales and how it works on children. The article examines popular folktales from Asia, Africa, Australia, Europe, North America, and South America and examines how they operate as a tool to enable us to understand culture and life skills.","PeriodicalId":40358,"journal":{"name":"Folia Linguistica et Litteraria","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45575973","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}
The article aims to outline extralinguistic factors of the emergence of American and Ukrainian ethnophobic terms and to study the means of their word-formation. The methods applied in the research include the analysis of dictionary definitions, as well as semantic, structural, conceptual, comparative, and linguocultural analyses. Metaphor, metonymy, and antonomasia are established as the semantic means of ethnophobic terms formation, whereas compounding, suffixation, clipping, and onomatopoeia – as the predominant means of structural word-formation in both American and Ukrainian nonstandard languages. Blends and acronyms are established as typical of American ethnophobic terms formation only, while the combination of semantic and structural word-formation is evident in both languages. Borrowings are determined as a significant means of replenishing the corpora of ethnophobic terms in both American and Ukrainian non-standard languages.
{"title":"WORD-FORMATION AND ORIGINS OF ETHNOPHOBIC TERMS IN THE AMERICAN AND UKRAINIAN NON-STANDARD LANGUAGES","authors":"I. Honta, I. Aleksandruk","doi":"10.31902/fll.44.2023.2","DOIUrl":"https://doi.org/10.31902/fll.44.2023.2","url":null,"abstract":"The article aims to outline extralinguistic factors of the emergence of American and Ukrainian ethnophobic terms and to study the means of their word-formation. The methods applied in the research include the analysis of dictionary definitions, as well as semantic, structural, conceptual, comparative, and linguocultural analyses. Metaphor, metonymy, and antonomasia are established as the semantic means of ethnophobic terms formation, whereas compounding, suffixation, clipping, and onomatopoeia – as the predominant means of structural word-formation in both American and Ukrainian nonstandard languages. Blends and acronyms are established as typical of American ethnophobic terms formation only, while the combination of semantic and structural word-formation is evident in both languages. Borrowings are determined as a significant means of replenishing the corpora of ethnophobic terms in both American and Ukrainian non-standard languages.","PeriodicalId":40358,"journal":{"name":"Folia Linguistica et Litteraria","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47908707","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}
The paper deals with the parodic procedure in the novel "The Epic of Water" by Enes Halilović. Considering the significant share of mythical and folklore, the nature of these silts in the work was illuminated and the parodic relationship to tradition was observed. In addition to the above-mentioned elements, the share of the historical can also be seen as significant, which was observed through the prism of the postmodernist text, which results in a specific relationship with the past. The socio-historical context, the system of social and moral values and the influence of the social component, appears as a basis for parodic and satirical effects, but with the final aim of raising it to the level of the universal. Part of the historical elements appear as an inseparable creative element of the parody complex in "The Epic of Water", because it is a particular event from modern history (the emigration of the population and the submergence of fertile land due to the construction of the artificial Lake Gazivode, which Halilović clearly mentions as one of the localities in the index of terms at the end of the book) that is the undisguised inspiration for the creation of the mythological guide to the flood and after it, as the author himself defines his narrative in the subtitle. However, Halilović's historicism is seen in the work as specific, because in his critical consideration of the value of the past, he elevates the local to the level of the universal. The author's attitude that history is subordinate to fiction can be interpreted as a view of history characteristic of postmodernist art, where history figures as a kind of intertext. The postmodernist attitude towards tradition, interpreted on the basis of the material the author takes from folklore and myth, is reflected in an ambivalent attitude towards tradition, where its conventions are established only to be destabilized in a parodic way. The ending of the novel is interpreted in the key of the eschatological vision of the created world, in the form of an aquatic apocalypse. Such an unraveling of narratives is seen as an example of the myth of doom, but also as a necessary stage of purification. Halilović's Paljevo is condemned to complete disappearance. The rapid moral degeneration of Muriz's lineage begins with Zahit's marriage to a mute and weak-minded foreign woman of unknown origin. From such a marriage is born Zaim, the first Paljevac who collects coffins for his closest relatives and who marries a woman who practices black magic, which leads to the culminating degradation of all virtues. It is interesting that in the same generation, Char's lineage visibly deteriorates - Charovac, whom Aljo goes to in order to free himself from the magical effects of Zaim's wife, himself performs black magic rituals. Therefore, in the end, the multiplied sins of the hero of the novel are symbolically dissolved by the water, disappearing in the purifying flood. In addition to the mythic layer that can
{"title":"A PARODY OF MYTHICAL AND FOLKLORE IN THE NOVEL \"THE EPIC OF WATER\" BY ENES HALILOVIĆ","authors":"Milica Ž. Jelenić","doi":"10.31902/fll.44.2023.17","DOIUrl":"https://doi.org/10.31902/fll.44.2023.17","url":null,"abstract":"The paper deals with the parodic procedure in the novel \"The Epic of Water\" by Enes Halilović. Considering the significant share of mythical and folklore, the nature of these silts in the work was illuminated and the parodic relationship to tradition was observed. In addition to the above-mentioned elements, the share of the historical can also be seen as significant, which was observed through the prism of the postmodernist text, which results in a specific relationship with the past.\u0000The socio-historical context, the system of social and moral values and the influence of the social component, appears as a basis for parodic and satirical effects, but with the final aim of raising it to the level of the universal. Part of the historical elements appear as an inseparable creative element of the parody complex in \"The Epic of Water\", because it is a particular event from modern history (the emigration of the population and the submergence of fertile land due to the construction of the artificial Lake Gazivode, which Halilović clearly mentions as one of the localities in the index of terms at the end of the book) that is the undisguised inspiration for the creation of the mythological guide to the flood and after it, as the author himself defines his narrative in the subtitle. However, Halilović's historicism is seen in the work as specific, because in his critical consideration of the value of the past, he elevates the local to the level of the universal. The author's attitude that history is subordinate to fiction can be interpreted as a view of history characteristic of postmodernist art, where history figures as a kind of intertext. The postmodernist attitude towards tradition, interpreted on the basis of the material the author takes from folklore and myth, is reflected in an ambivalent attitude towards tradition, where its conventions are established only to be destabilized in a parodic way. The ending of the novel is interpreted in the key of the eschatological vision of the created world, in the form of an aquatic apocalypse. Such an unraveling of narratives is seen as an example of the myth of doom, but also as a necessary stage of purification. Halilović's Paljevo is condemned to complete disappearance. The rapid moral degeneration of Muriz's lineage begins with Zahit's marriage to a mute and weak-minded foreign woman of unknown origin. From such a marriage is born Zaim, the first Paljevac who collects coffins for his closest relatives and who marries a woman who practices black magic, which leads to the culminating degradation of all virtues. It is interesting that in the same generation, Char's lineage visibly deteriorates - Charovac, whom Aljo goes to in order to free himself from the magical effects of Zaim's wife, himself performs black magic rituals. Therefore, in the end, the multiplied sins of the hero of the novel are symbolically dissolved by the water, disappearing in the purifying flood. In addition to the mythic layer that can","PeriodicalId":40358,"journal":{"name":"Folia Linguistica et Litteraria","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43775714","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}
The aim of this paper 1 is to explore some of the ways in which Christian values are present in contemporary Croatian children’s stories. Contemporary Croatian children’s literature is extremely diverse. However, Christianity has been immanent in Croatian children’s literature from the very beginning and has engaged with contemporary children’s stories through various creative processes. One of the contemporary approaches to Christian themes in Croatian children’s literature will be presented, analyzing the works of the Croatian writers Sonja Tomić and Stjepan Lice. Their stories are inspired by biblical themes, motifs, and forms such as parables, the stories of rich symbolic relationships and strong messages in which Jesus Christ speaks in a vivid and understandable way about ordinary things, elevating them to the level of timeless meaning, thus pointing to correlations between the everyday world, spiritual reality, and the Kingdom of God. Sonja Tomić and Stjepan Lice approach these biblical themes through contemporary narrative concepts of children’s literature and bring the original, complex way of Christ’s teaching closer to the children’s world and the potential experience of religiosity as it applies to children.
{"title":"THE TRANSFORMATION OF THE CONTEMPORARY CHRISTIAN CHILDREN’S STORY – STJEPAN LICE AND SONJA TOMIĆ","authors":"Tea-Tereza Vidović Schreiber, Ivana Odža","doi":"10.31902/fll.44.2023.10","DOIUrl":"https://doi.org/10.31902/fll.44.2023.10","url":null,"abstract":"The aim of this paper 1 is to explore some of the ways in which Christian values are present in contemporary Croatian children’s stories. Contemporary Croatian children’s literature is extremely diverse. However, Christianity has been immanent in Croatian children’s literature from the very beginning and has engaged with contemporary children’s stories through various creative processes. One of the contemporary approaches to Christian themes in Croatian children’s literature will be presented, analyzing the works of the Croatian writers Sonja Tomić and Stjepan Lice. Their stories are inspired by biblical themes, motifs, and forms such as parables, the stories of rich symbolic relationships and strong messages in which Jesus Christ speaks in a vivid and understandable way about ordinary things, elevating them to the level of timeless meaning, thus pointing to correlations between the everyday world, spiritual reality, and the Kingdom of God. Sonja Tomić and Stjepan Lice approach these biblical themes through contemporary narrative concepts of children’s literature and bring the original, complex way of Christ’s teaching closer to the children’s world and the potential experience of religiosity as it applies to children.","PeriodicalId":40358,"journal":{"name":"Folia Linguistica et Litteraria","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46466062","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}
The present paper is devoted to the study of the prejudices and biases in psychiatry toward women and different ethnic groups as “the other” in Sylvia Plath’s The Bell Jar and Ken Kesey’s One Flew over the Cuckoo’s Nest. Through the application of anti-psychiatric and political notions, this study is conducted to depict how psychiatry as an agent of the power structure succeeds in suppressing “the other’s” inclinations and, on the contrary, to what extent “the other” is successful in confronting the power structure by projecting its proclivities in these two notable American fictions of the 1960s. The results of this study suggest that there is always a suppression/resistance dialectic between the power structure and “the other” in these works of fiction.
{"title":"THE ENIGMA OF THE OTHER IN THE EYES OF PSYCHIATRY: MARGINALIZATION IN THE BELL JAR AND ONE FLEW OVER THE CUCKOO’S NEST","authors":"Omid Delbandi, Alireza Anoushiravani, Laleh Atashi","doi":"10.31902/fll.44.2023.16","DOIUrl":"https://doi.org/10.31902/fll.44.2023.16","url":null,"abstract":"The present paper is devoted to the study of the prejudices and biases in psychiatry toward women and different ethnic groups as “the other” in Sylvia Plath’s The Bell Jar and Ken Kesey’s One Flew over the Cuckoo’s Nest. Through the application of anti-psychiatric and political notions, this study is conducted to depict how psychiatry as an agent of the power structure succeeds in suppressing “the other’s” inclinations and, on the contrary, to what extent “the other” is successful in confronting the power structure by projecting its proclivities in these two notable American fictions of the 1960s. The results of this study suggest that there is always a suppression/resistance dialectic between the power structure and “the other” in these works of fiction.","PeriodicalId":40358,"journal":{"name":"Folia Linguistica et Litteraria","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45881918","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}
Eavan Boland has been acclaimed as the foremost feminist poet of modern Ireland, and, although she has been accused of resorting to a depoliticized escapist poetry, her poetry stands for a convergence of both the political/national and the feminine in her homeland. Defined and credited as a nation with a mythological history, Ireland has always already been represented through a temporally male perspective. Correspondingly, in the established canon of Irish poetry, time, mostly as a retrospective concept, is a masculine appropriation of history coupled with the archetypal male and female roles, whose spatio-temporal import are to accommodate to the authorized reductionist historiography. Bakhtin’s idea of chronotope is not only an attempt toward the mutual realization of the time/space motif in a literary work, but also the means to the embodiment of a consciousness, an identity. This study attempts to demonstrate how Boland, in a selection of poems from her collection Outside History (1990), specifically, The Achill Woman, The Making of an Irish Goddess, Daphne Heard with Horror the Addresses of God, and the eponymous poem Outside History, introduces a series of chronotopes which assist her in redefining Irish national history with a feminine hue in the guise of herstory. Furthermore, it will be argued that her poetry may well be seen as a venture to replace the authoritative concept of time as mythology and fiction with a real history.
{"title":"SHADES OF A WOMAN’S TIME: THE CHRONOTOPIC REVISION OF HISTORY IN SELECTED POEMS OF EAVAN BOLAND’S OUTSIDE HISTORY","authors":"Ghulam Yahya Asghar","doi":"10.31902/fll.44.2023.15","DOIUrl":"https://doi.org/10.31902/fll.44.2023.15","url":null,"abstract":"Eavan Boland has been acclaimed as the foremost feminist poet of modern Ireland, and, although she has been accused of resorting to a depoliticized escapist poetry, her poetry stands for a convergence of both the political/national and the feminine in her homeland. Defined and credited as a nation with a mythological history, Ireland has always already been represented through a temporally male perspective. Correspondingly, in the established canon of Irish poetry, time, mostly as a retrospective concept, is a masculine appropriation of history coupled with the archetypal male and female roles, whose spatio-temporal import are to accommodate to the authorized reductionist historiography. Bakhtin’s idea of chronotope is not only an attempt toward the mutual realization of the time/space motif in a literary work, but also the means to the embodiment of a consciousness, an identity. This study attempts to demonstrate how Boland, in a selection of poems from her collection Outside History (1990), specifically, The Achill Woman, The Making of an Irish Goddess, Daphne Heard with Horror the Addresses of God, and the eponymous poem Outside History, introduces a series of chronotopes which assist her in redefining Irish national history with a feminine hue in the guise of herstory. Furthermore, it will be argued that her poetry may well be seen as a venture to replace the authoritative concept of time as mythology and fiction with a real history.","PeriodicalId":40358,"journal":{"name":"Folia Linguistica et Litteraria","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41800604","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}
Languages change continuously: the changes occur in phonetics, phonology, morphology, syntax, lexicon and semantics. Over time, a treasure trove of new words is created, but also another one containing lost words or, in any case, words with a more or less altered meaning. It also includes forms that have disappeared from use, but which have maintained their vitality for centuries. In this paper, we have considered a category of syncategorematic or grammatical words - conjunctions: their form is often conditioned not only by the function performed but also by the sequence in which they are placed. Their diachronic changes, both in form and function, therefore depend on the syntax, which sometimes modifies their phonetic structure and sometimes their grammatical value. Their changes have a different or perhaps broader influence, because they affect not only the changes in the lexical repertoire, but also in syntactic structures. Analyzing Italian conjunctions in this diachronic light, we found four groups of phenomena that led to the disappearance of variants, forms or meanings: changes in the lexical list of conjunctions and the disappearance of phono-orthographic variants replaced by one form with the result of homologation of the system in contemporary Italian; changes in the semantics of some conjunctions (some forms survive at the lexical level, but with the meaning changed); the disappearance of forms in the contemporary language (where the form survives only in literary use or in certain formal registers) and the definitive disappearance of forms. From the analyzes, it emerges that the disappearances that occurred in the category of conjunctions reflect a general tendency towards a shrinking of the system, to the reduction of the number of forms with the elimination of numerous phonoorthographic variants (which also occurred in other grammatical categories) but also with the fall into disuse of very vital lexical units in the Middle Ages. The analysis of the sample shows that some types of conjunctions, particularly concessive, causal and temporal ones, had a "superabundance" of forms that were eliminated over time, felt increasingly archaic starting from the sixteenth century and fell into disuse entirely in the nineteenth century. The most significant and emblematic example are probably concessive conjunctions. In the first prose in ancient Italian the number of units (and their frequency of use) was rather scarce (for example, in the Novellino we have identified only six concessive conjunctions: ancorché, avvegna che, benché, quanto che, quantunque and (con) tutto che). With the great authors of the fourteenth century, the system was enriched both in the variety of units and in the frequency to such an extent that in the Decameron we recorded 23 different concessive conjunctions (ancorché, avvegna che, benché, che che, come che, donde che, dove che, dovunque, eziandio se, malgrado, nonché, nonostante che, onde che, ove che, perché, per qu
{"title":"FROM THE TREASURES OF ANCIENT ITALIAN: CONJUNCTIONS","authors":"Milica Samardzic","doi":"10.31902/fll.44.2023.5","DOIUrl":"https://doi.org/10.31902/fll.44.2023.5","url":null,"abstract":"Languages change continuously: the changes occur in phonetics, phonology,\u0000morphology, syntax, lexicon and semantics. Over time, a treasure trove of new words is\u0000created, but also another one containing lost words or, in any case, words with a more\u0000or less altered meaning. It also includes forms that have disappeared from use, but which have maintained their vitality for centuries. In this paper, we have considered a category of syncategorematic or grammatical words - conjunctions: their form is often conditioned not only by the function performed but also by the sequence in which they\u0000are placed. Their diachronic changes, both in form and function, therefore depend on\u0000the syntax, which sometimes modifies their phonetic structure and sometimes their\u0000grammatical value. Their changes have a different or perhaps broader influence,\u0000because they affect not only the changes in the lexical repertoire, but also in syntactic\u0000structures. Analyzing Italian conjunctions in this diachronic light, we found four groups\u0000of phenomena that led to the disappearance of variants, forms or meanings: changes in\u0000the lexical list of conjunctions and the disappearance of phono-orthographic variants\u0000replaced by one form with the result of homologation of the system in contemporary\u0000Italian; changes in the semantics of some conjunctions (some forms survive at the lexical level, but with the meaning changed); the disappearance of forms in the contemporary language (where the form survives only in literary use or in certain formal registers) and the definitive disappearance of forms. From the analyzes, it emerges that the disappearances that occurred in the category of conjunctions reflect a general tendency towards a shrinking of the system, to the reduction of the number of forms with the elimination of numerous phonoorthographic variants (which also occurred in other grammatical categories) but also with the fall into disuse of very vital lexical units in the Middle Ages. The analysis of the sample shows that some types of conjunctions, particularly concessive, causal and temporal ones, had a \"superabundance\" of forms that were eliminated over time, felt increasingly archaic starting from the sixteenth century and fell into disuse entirely in the nineteenth century. The most significant and emblematic example are probably concessive conjunctions. In the first prose in ancient Italian the number of units (and their frequency of use) was rather scarce (for example, in the Novellino we have identified only six concessive conjunctions: ancorché, avvegna che, benché, quanto che, quantunque and (con) tutto che). With the great authors of the fourteenth century, the system was enriched both in the variety of units and in the frequency to such an extent that in the Decameron we recorded 23 different concessive conjunctions (ancorché, avvegna che, benché, che che, come che, donde che, dove che, dovunque, eziandio se, malgrado, nonché, nonostante che, onde che, ove che, perché, per qu","PeriodicalId":40358,"journal":{"name":"Folia Linguistica et Litteraria","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43118758","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}
In the late medieval England, the long futile wars, famine and death tolls caused by the plagues highlighted the value of laboring bodies. Attitudes to labor changed, especially labor for food production. The attitude of the clergy, however, was paradoxical towards labor. According to the Christian doctrine and ethics, work was a virtue, but, practically speakin, in the feudal system of the medieval period, manual work was allotted to the peasants. To cope with this ideological flaw, the clergy triumphed in their (non-productive) clerical labor and services, meditative and ascetic life. Failure in achieving these ideals is depicted and satirized in the General Prologue of the Canterbury Tales, by the pilgrim-Chaucer’s highlighting the significance of both food and foodmakers.
{"title":"IN PRAISE OF ANIMAL LABORANS, THE LABORING BODIES OF CHAUCER’S GENERAL PROLOGUE","authors":"A. Mahdipour, Hossein Pirnajmuddin","doi":"10.31902/fll.44.2023.14","DOIUrl":"https://doi.org/10.31902/fll.44.2023.14","url":null,"abstract":"In the late medieval England, the long futile wars, famine and death tolls caused by the plagues highlighted the value of laboring bodies. Attitudes to labor changed, especially labor for food production. The attitude of the clergy, however, was paradoxical towards labor. According to the Christian doctrine and ethics, work was a virtue, but, practically speakin, in the feudal system of the medieval period, manual work was allotted to the peasants. To cope with this ideological flaw, the clergy triumphed in their (non-productive) clerical labor and services, meditative and ascetic life. Failure in achieving these ideals is depicted and satirized in the General Prologue of the Canterbury Tales, by the pilgrim-Chaucer’s highlighting the significance of both food and foodmakers.","PeriodicalId":40358,"journal":{"name":"Folia Linguistica et Litteraria","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46605864","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}
U saradnji Evropskog Vergelend centra i Filološkog fakulteta Univerziteta Crne Gore, krajem 2022. godine, izdata je publikacija pod nazivom Medijska pismenost, nastala tokom realizacije istoimenog modula, koji je za studente studijskih programa Crnogorski jezik i južnoslovenske književnosti i Srpski jezik i južnoslovenske književnosti organizovala prof. dr Dušanka Popović. Ona se, takođe, potpisuje kao urednica objavljenog izdanja, te nas u tom svojstvu, u predgovoru sa naslovom O publikaciji, informiše o tome da je pomenuti modul realizovan u okviru projekta Priprema budućih nastavnika na Zapadnom Balkanu – obrazovanje za demokratiju i ljudska prava. Nosilac projekta bio je Evropski Vergelend centar (resursni centar za obrazovanje za interkulturno razumijevanje, ljudska prava i demokratsko građanstvo), a finansijer Ministarstvo vanjskih poslova Norveške. Razvijen je u saradnji s Departmanom IPE Univerziteta za obrazovanje nastavnika iz Ciriha i dvanaest univerziteta iz regiona, među kojima je, u periodu od 2019. do 2022. godine, bio i Univerzitet Crne Gore, odnosno Filološki i Filozofski fakultet, kao fakulteti koji obrazuju nastavnike.
在欧洲Vergelend中心和黑山哲学大学的合作下，于2022年底。今年，该出版物在同一模块的课程中出版，该模块由杜尚卡·波波维奇博士为黑山语言和南方文学以及塞尔维亚语言和南非文学的学生组织。在这一天，tako je e，potpisuje kao urednica objavljenog izdanja，te nas u tom svojstvu，u predgovoru sa naslovom O publicaciji，informiše O tome da je pomnuti modul realizovan u okviru projekta Priprema budućih nastavnika na Zapadom Balkanu–obrazovanje za demokratiju i ljudska prava。项目经理是欧洲Vergelend中心（一个跨文化理解、人权和民主公民身份的资源中心）和挪威外交部的资助者。他是与西里哈教育大学IPE系和该地区12所大学合作开发的，包括2019年。直到2022年。年复一年，他还是黑山大学的哲学家和哲学家，担任大学的教学教师。
{"title":"MEDIJSKA PISMENOST U OBRAZOVANJU BUDUĆIH NASTAVNIKA","authors":"Sonja Nenezić","doi":"10.31902/fll.44.2023.20","DOIUrl":"https://doi.org/10.31902/fll.44.2023.20","url":null,"abstract":"U saradnji Evropskog Vergelend centra i Filološkog fakulteta Univerziteta Crne Gore, krajem 2022. godine, izdata je publikacija pod nazivom Medijska pismenost, nastala tokom realizacije istoimenog modula, koji je za studente studijskih programa Crnogorski jezik i južnoslovenske književnosti i Srpski jezik i južnoslovenske književnosti organizovala prof. dr Dušanka Popović. Ona se, takođe, potpisuje kao urednica objavljenog izdanja, te nas u tom svojstvu, u predgovoru sa naslovom O publikaciji, informiše o tome da je pomenuti modul realizovan u okviru projekta Priprema budućih nastavnika na Zapadnom Balkanu – obrazovanje za demokratiju i ljudska prava. Nosilac projekta bio je Evropski Vergelend centar (resursni centar za obrazovanje za interkulturno razumijevanje, ljudska prava i demokratsko građanstvo), a finansijer Ministarstvo vanjskih poslova Norveške. Razvijen je u saradnji s Departmanom IPE Univerziteta za obrazovanje nastavnika iz Ciriha i dvanaest univerziteta iz regiona, među kojima je, u periodu od 2019. do 2022. godine, bio i Univerzitet Crne Gore, odnosno Filološki i Filozofski fakultet, kao fakulteti koji obrazuju nastavnike.","PeriodicalId":40358,"journal":{"name":"Folia Linguistica et Litteraria","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47038907","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}
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