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Prispevek rekonstruira pozabljeno epizodo iz slovensko-bolgarskih gledaliških stikov. Na Prvem kongresu južnoslovanskih pisateljev in publicistov novembra 1905 sta se v beograjskem narodnem gledališču isti večer igrali enodejanki Zofke Kveder Ljubezen in Petka Todorova Strahil strašni hajduk. Čeprav se predstavnika modernizma nista srečala na tem forumu (slovenska delegacija ni prišla), sta se na odru srečali njuni dramski deli, ki vstopata v resni in produktivni medsebojni dialog. This paper reconstructs a forgotten episode of Bulgarian-Slovene theatre and cultural relations. At the First Congress of South Slavic writers and newspaper commentators in the Belgrade Drama Theatre in November 1905, on the same evening were performed the one-act plays Zofka Kveder's Love and Petko Todorov's Strahil Terrible Rebel. Both authors are representatives of modernism, and although they did not meet at this forum (the Slovene delegation did not arrive), their works encountered each other on stage, engaging in serious and productive dialogue each other.

U suvremenoj književnosti nisu rijetke obrade klasičnih literarnih djela poput Sofoklove Antigone. U radu se u središte pozornosti stavlja odnos među dramskim tekstovima kojima je zadatak reinterpretirati poznatu antigonsku tematiku. Posrijedi je jedan od najčešćih oblika intertekstualne međuovisnosti u suvremenoj dramskoj književnosti. Glasovit primjer antigonske tematike u slovenskoj drami svakako je Antigona (1959.) Dominika Smolea. Višestruko zrcaljenje slovenske Antigone u ostalim antigonskim intertekstovima metodološka je vizura za određivanje vrsta preobrazbi obilježja klasičnoga teksta književne tradicije. Usustavljivanje spoznaja međuknjiževoga tipa ostvarit će se uspoređivanjem Smoleove Antigone sa sljedećim dramskim tekstovima: Jean Anouilh, Antigona (1947.), Tonči Petrasov Marović, Antigona, kraljica (1980.), Miro Gavran, Kreontova Antigona (1983.), Ljubomir Đurković, Tiresijina laž (2010.) i Dušan Jovanović, Antigona (1995.). Intertekstualni obzor razmatranja uključuje i tekstove: Janusz Głowacki, Antigona u New Yorku (1992.) i Drago Ivanišević, Ljubav u koroti ili Antiantigona (1957.). Na temelju odabranih primjera otkrit će se različitosti intertekstualnih postupaka te njihove uloge u tumačenju antigonske književne teme i ličnosti.

V Novi slovenski skladnji Jože Toporišič opredeljuje besedo ràd kot "povedkovnik naklonskega tipa" (Toporišič 1982: 117) ali "naklonski predikativ" (prav tam: 407). V prispevku opozarjam na oblikovne, skladenjske in pomenske lastnosti slovenske besede ràd, ki se kažejo v primerjavi z rusko kratko pridevniško obliko ràd (rad). Poleg sinhrone kontrastivne obravnave dveh besed prispevek odpira tudi vprašanje vpliva ruskega jezikoslovja na Toporišičevo pojmovanje povedkovnika kot posebne besedne vrste. Toporišičeva uvrstitev slovenske besede ràd med povedkovnike kaže, da se njegovo pojmovanje povedkovnika razlikuje od stališča ruskih jezikoslovcev. The contribution attempts to find a descriptively appropriate word-class assignment for the problematic case of the contemporary Slovene lexical item ràd. This word, etymologically clearly an adjective, presents some functional similarities with adverbs, while in terms of morphology it also preserves certain adjectival features. Jože Toporišič proposed classifying ràd as a "modal predicative" (see esp. Toporišič 1982: 407). This hypothesis will be verified by contrasting the features of the Slovene word ràd with its obvious lexical parallel - the Russian rad.

Namen prispevka je predstaviti, kako poljsko jezikoslovje obravnava prilastek in njegovo skladenjsko vlogo v stavku, in to obravnavo primerjati s slovenističnim pristopom, ki je predstavljen mdr. v Toporišičevi Slovenski slovnici. Izpostaviti nameravamo podobnosti, predvsem pa razlikovanja v dojemanju tega stavčnega člena v obeh jezikih, torej njegovo formalno in pomensko klasifikacijo, besedni red oz. stavo prilastka, ter pojasniti s prilastkom povezano izbrano izrazje. The purpose of this paper is to show how Polish linguistics deals with the attribute and its syntactic role in the sentence and then compare it with the Slovene Studies approach, including that presented in Toporišič's Slovene grammar. The aim is to highlight the similarities and differences, especially the difference in the perception of this particular part of the sentence in the two languages - its formal and semantic classification, and attribute word order. At the same time, an explanation of associated terminology will be offered.

V prispevku se v skladu s Toporišičevim razumevanjem propozicije osredotočamo na primerjavo tipov stavčnih zgradb pri oblikovanju neaktivnih dejanj in stanj človeškega organizma. Izhodiščni jezik za primerjavo je slovaščina, primerjani jeziki so češčina, poljščina, slovaščina[!] in hrvaščina. Primerjava nastaja v mikrosituacijah: 1. neaktivne akcije, 2. neaktivni procesi, 3. fizčna stanja.

Raziskava obravnava primerjalno analizo izobraževalnih standardov za predmet slovenščina in srbščina kot J1. Temelji na podrobni analizi ustreznih dokumentov, v katerih so predstavljeni standardi, posebna pozornost pa je usmerjena na podobnosti in razlike v strukturi, konceptualizaciji in formulaciji standardov ter na zahteve na različnih stopnjah izobrazbe. The research presented in this paper focuses on the comparative study of educational standards for Slovene as L1 and Serbian as L1. It is based on the detailed analysis of relevant policy papers and documents in which standards are established, and special attention is paid to similarities and differences in the structure, conceptualisation and formulation of standards, as well as to various literacy demands at different education levels.

V prispevku sopostavljamo pomenskoskladenjske značilnosti slovenskih predlogov med in sredi z ruskima predlogoma meždu in sredi. Kompleksno pomensko strukturo predlogov tvorijo komponente, ki se razlikujejo od jezika do jezika. Nekatere skladenjske posebnosti lahko razložimo s pomočjo družljivosti predlogov z drugimi predlogi, ki so za vsak jezik specifične (sln. med in nad, pod rus. meždu in okolo).

Spolno občutljiva raba jezika je predmet tudi jezikoslovnega raziskovanja že vrsto let. Razprave sevečinoma osredotočajo na nekaj temeljnih vprašanj, med katerimi je zagotovo na prvem mestu problematična nezaznamovanost moškega spola. V prispevku avtorici predstavljata nekaj bistvenih poudarkov iz razprave o tem vprašanju iz devetdesetih let in jih aktualizirata z današnjim stanjem. Pri tem opozarjata na nekatere razlike in podobnosti, na katere naletimo v diskurzivni praksi v slovenščini, angleščini in italijanščini. The gender-sensitive use of language has been the subject of linguistic investigation for many years now. Research in this area has tended to focus on certain fundamental questions, foremost amongst which has been the problematic unmarked status of the masculine gender. This article highlights someof the key issues debated concerning this topic from 1990s on and also presents an overview of the current state of play today, noting certain similarities and differences between Slovene, English and Italian language use.

V pričujočem prispevku opisujem različne pristope k proučevanju besedotvorja ter se posebej osredotočam na funkcijski in kognitivni pristop ter na sintezo obeh - skratka, kognitivno-diskurzivni pristop. S kognitivnega vidika poskušam razčleniti šest funkcij besedotvornih sredstev in nekaterih posebnosti njihovega izvajanja, in sicer s primeri slovenskih neologizmov iz Slovarja novejšega besedja slovenskega jezika in ruskih avtorskih tvorjenk iz romana J. Poljakova Konec filma ali mavčni trobentač (Konec filʹma, ili Gipsovyj trubač). The article describes different approaches to the study of word-formation: functional, cognitive and their synthesis - a cognitive-discursive approach. It analyses from the cognitive perspective six functions of word-formation resources and some particularities of their implementation. Examples of Slovene neologisms from Slovar novejšega besedja slovenskega jezika are used and Russian nonce-words from the novel Konec filʹma, ili gipsovyj trubač by Yuriy Polyakov.

Številne literarne reprezentacije skušnjave, zapeljevanja in ugrabitve žensk v svetovni literaturi od antike do sodobnosti so izražene v obliki dialoga, ki poteka po logiki zvijače in nasilja. Subjekt zapeljevanja in nasilja so moški različnih stanov in vlog. V slovenskem ljudskem izročilu in književnosti odkrijemo nekatere literarne reprezentacije tipa prevaranta in ženske žrtve ugrabitelja, ki jih zasledimo tudi v folklorni tradiciji in umetni književnosti po svetu. Ker motiv slovenske Lepe Vide izvira iz skupnega sredozemskega izročila, se zlasti med slovenskimi in sredozemskimi različicami kažejo medbesedilne interakcije v motiviki in simboliki zapeljevanja in nasilja. Ugrabitelj tako v slovenskih kot tudi v sredozemskih ljudskih različicah nastopa kot simbol zla in ostaja nekaznovan. Prešeren se v baladi Od Lepe Vide (1832) osredotoča predvsem na lik Lepe Vide kot žrtve skušnjavca, Jurčič, Vošnjak in Kranjec pa v svojih literarnih obdelavah motiva Lepe Vide lik zapeljivca močneje poudarijo. Medtem ko se skušnjavcu v Jurčičevem romanu maščuje prevarani Vidin mož, ga pri Vošnjaku in Kranjcu za njegovo prevarantstvo kaznujeta zlorabljeni ženski. Numerous literary representations of temptation, seduction and the abduction of women in world literature from Antiquity to the present are expressed in the form of dialogue conducted according to the logic of deception and violence. The perpetrators of seduction and violence are men of various classes and roles. In the Slovene folk tradition we disclose some literary representations of type of the deceiver and of woman as the victim of an abductor, which we can also find in the folklore tradition and artistic literature throughout the world. Since the motif of Fair Vida comes from the common Mediterranean tradition, Slovene and Mediterranean variants manifest intertextual interactions both in the motifs and symbols of seduction and violence. The abductor appears both in Slovene and Mediterranean folk variants also as a symbol of evil and remains unpunished. While in his ballad Fair Vida (1832), Prešeren focuses predominantly on the eponymous heroine as a victim of the seducer, Jurčič, in their literary recreations of this theme Vošnjak and Kranjec place greater emphasis on the figure of the seducer. While in Jurčič’s novel the deceived Vida’s husband avenges himself on the seducer, in Vošnjak and Kranjec he is punished for his deception by the abused women.

Prispevek prikazuje reproduktivno recepcijo predvojne kratke proze Ivana Potrča, pisatelja, dramatika in novinarja, ki ga literarna zgodovina uvršča med socialne realiste in pisce o kmečkih ljudeh. Pri tem se omeji le na nekatere razprave in samostojne publikacije ter tako prikaže, kako so nekateri slovenski kritiki (Jerovšek, Štih, Šafar idr.) vrednotili Potrča kot pisatelja in njegovo začetno prozo. The contribution looks at the reception of pre-war short prose by Ivan Potrč, a writer, playwright and journalist, who has been classified by literary historians as a Social Realist and as a rural author. The contribution will be limited to certain discussions and independent publications, showing how some Slovene reviewers (Jerovšek, Štih, Šafar and others) have appreciated Potrč as a writer and his early prose.

Prispevek preučuje rokopis, ki je doslej veljal za izgubljenega: prevod Molièrove komedije Tartuffe, ki ga je leta 1907 pripravil Vladimir Levstik. Primerjava tega prevoda z znanim Župančičevim prevodom iz leta 1934 osvetljuje temeljne prevodoslovne zagate, s katerimi se soočajo slovenski prevajalci francoske klasicistične dramatike. Prav tako se zastavlja vprašanje, kje so meje prevajalčevega poustvarjalnega dela, kar je v tem primeru še posebno zanimivo, saj sta prevajalca tudi pisatelja. This paper analyses a manuscript previously thought to be lost: Vladimir Levstik's 1907 translation of Molière's Tartuffe. A comparison of this translation with Župančič's wellknown 1934 translation highlights the fundamental issues faced by Slovene translators of French classical drama. It also raises the question of where the borders lie between translation and creation, which is particularly interesting in this case because the translators are both famous Slovene writers.

Magistrsko delo se osredotoča na fenomen Adolfa Hitlerja in njegove pojavnosti v literaturi. Obravnavanih je pet literarnih del različnih zvrsti in žanrov, v katerih se kot glavna ali stranska literarna oseba pojavi Adolf Hitler. Predstavljeni so kratka zgodba Geneza in katastrofa (1959) Roalda Dahla, satirični roman Spet je tukaj (2012) Timurja Vermesa, mladinski roman Deček na vrhu gore (2015), ki ga je napisal John Boyne, satira Adolfa Hitlerja tretja svetovna vojna in kratki kurz vladanje za začetnike (1980) Miloša Mikelna in znanstvenofantastični roman Človek v visokem dvorcu (1962) Philipa K. Dicka. Osrednja točka analize posameznega dela je označitev Hitlerja kot literarne osebe, osrednji del magistrskega dela pa predstavlja primerjava vseh petih literarnih Hitlerjev ter predstavitev rezultatov in postavitev le-teh v kontekst. This thesis examines the phenomenon of Adolf Hitler and his appearance in literature. It analyses five literary works from different genres in which Adolf Hitler appears as a main or as a supporting character a short story Genesis and Catastrophe: A True Story by Roald Dahl (1959), a satirical novel Look Who's Back by Timur Vermes (2012), a young-adult novel The Boy at the Top of the Mountain by John Boyne (2015), a satire Adolf Hitler's Third World War and a Short Course in Ruling for Beginners by Miloš Mikeln (1980) and a science-fiction novel The Man in the High Castle by Philip K. Dick (1962). The analysis of each work focuses on the character analysis of the fictional Hitler. The main contribution of the thesis is the comparison of the five fictional Hitlers and their contextualization.

Diplomsko delo obravnava primerjavo med delom Danteja Alighierija Pekel in filmom režiserja Larsa von Trierja Hiša, ki jo je zgradil Jack. Najprej sta predstavljeni življenji in opusa obeh avtorjev. Ker je eno izmed glavnih področij primerjave umetnost, se Danteja opredeli ne le kot pisatelja, ampak tudi kot umetnika v kontekstu njegovega časa. Temu sledi predstavitev njunih del in obnova. Opredeljena je tudi povezava med njima. Pri primerjavi se osredotočim na podobnosti in razlike med žanri, strukturo, temami, glavnimi in stranskimi liki ter scenografijo pekla. The thesis deals with a comparison between Dante Alighieri's Inferno and the film by Lars von Trier The House That Jack Built. The first part of the thesis presents the lives and works of both authors. Since one of the main areas of comparison is art, Dante is defined not only as a writer but also as an artist in the context of his time. This is followed by a presentation and summary of their work. The connection between them is also defined. In the comparison, I focus on the similarities and differences between genres, structure, themes, main and side characters, and the scenery of hell.

Magistrsko delo obravnava značilnosti izobraževanja odraslih v Rusiji in Sloveniji sredi 20. stoletja. Za to obdobje je za navedeni državi značilno najprej tesno sodelovanje in prijateljski odnos ter kasneje odkrito politično nasprotovanje in ločen razvoj na vseh področjih. Sem spada tudi področje izobraževanja, ki je predstavljalo aparat države v borbi z vpeljavo nove družbene ureditve in novega vrednotnega sistema. V teoretičnem delu najprej predstavimo vlogo, ki jo ima izobraževanje odraslih v današnjem svetu, zgodovinski razvoj izobraževanja odraslih v obeh državah, izobraževanje žensk ter razvoj znanosti andragogike v Rusiji in Sloveniji. V empiričnem delu pa se posvetimo štirim kazalnikom, ki še bolj jasno in strnjeno predstavijo potek izobraževanja odraslih v Rusiji in pri nas sredi 20. stoletja. This master%s thesis is dealing with the characteristics of adult education in Russia and Slovenia in the mid-twentieth century. For the already mentioned countries this era is at first characterized by close cooperation and friendly relations that later turns into frank political opposition and a completely separate development in all fields. This includes the field of education, which represented the apparatus of the state in the struggle with the introduction of a new social order and a new value system. In theoretical part, we first present the role of adult education in today's world, the historical development of adult education in both countries, education for women and the development of the science of andragogy in Russia and Slovenia. In the empirical part, we describe four indicators that further more show even more clearly and concisely the course of adult education in Russia and Slovenia in the mid-twentieth century.

Svojo četrto dramo, z naslovom Kralj na Betajnovi, je Ivan Cankar napisal leta 1901, medtem ko je Shakespeare že približno tristo let prej napisal tragedijo Hamlet. Cankarjeva drama se odvija jeseni na malem trgu Betajnove, Shakespearova pa na danskem dvoru po smrti starega kralja. Na Betajnovi vlada zločinec Kantor, kateremu skuša njegov nasprotnik Maks onemogočiti nadaljnji zločinski pohod, medtem ko na Danskem vlada novi bratomorilski kralj Klavdij, ki se mu zoperstavi sin umorjenega kralja, Hamlet. Oba vladarja se poslužujeta nasilja, za ljubezen pa v njunem življenju praktično ni prostora. Deli sem z analizo motiva ljubezni in motiva nasilja, njunim vplivom na literarne osebe in dramsko dogajanje primerjala med sabo. Ivan Cankar wrote his fourth drama The King of Betajnova in 1901 while Shakespeare wrote his Hamlet for about three hundred years before. Cankar's drama takes place in a small square of Betajnova and Shakespeare's in the Danish royal court after the king's death. Kantor is a criminal who rules Betajnova. His opponent named Maks is trying to disable his further crimes. Claudius, the new king of Denmark, killed his brother and married his widow. Dead king's son Hamlet is trying to fix the injustice. Both kings are very violent and there's no place for love in their lifes. In my thesis I was occupying myself with the analysis of two motifs. I was comparing the motif of love and the motif of violence in both dramas, their influence on the characters and action.

Mitska zgodba o Medeji, ki sta jo v svojih tragedijah prikazala grški dramatik Evripid in rimski Seneka, je v slovenski literaturi navdahnila Daneta Zajca. Diplomsko delo s pomočjo zrcala značilnosti avtorjev in obdobij najprej med seboj primerja antični deli, nato pa ju prikaže še v odnosu do modernejše slovenske različice Medeje. Izhajajoč iz mita o Argonavtih, se primerjava najprej osredotoči na zunanje in slogovne značilnosti vseh treh dram, ter nato podrobno prikaže prelivanje in razvoj ključnih motivov, ki se pojavljajo v njih in vodijo glavne akterje k njihovim dejanjem, predvsem v ljubezni prevarano čarovnico Medejo k umoru svojih dveh otrok. The mythical story of Medea, portrayed by Greek playwright Euripides and Roman playwright Seneca in their tragedies also inspired Slovenian author Dane Zajc. By virtue of typical features of the dramaturgical periods and depicted playwrights, the diploma thesis begins with comparison between ancient Greek and Roman tragedies, followed by their portrayal in resemblance to newer Slovenian version of Medea. Starting with the ancient Greek legend of Argonauts, the comparison begins by focusing on the form and style characteristics of the three plays. It proceeds with the dramas' key motives, which motivate main characters in their actions, especially the ditched witch Medea to murder her two children.

Diplomska naloga se ukvarja z ekokritiško analizo dveh del s pomočjo primerjalne analize sta obravnavana romana Zadnji človek (Margaret Atwood) in Hiša Marije Pomočnice (Ivan Cankar) za potrebe raziskovalne naloge so vključeni tudi primeri iz Cankarjeve kratke (in druge) proze. Osrednja naloga je bila ugotoviti, kako se žival manifestira v tekstu, kakšen in kako je izražen odnos do nje, vključena pa je tudi obravnava odnosa do narave in ljudi. The thesis deals with an ecocritical analysis of two literary works through a comparative analysis the novels Oryx and Craxe (Margaret Atwood) and The Ward of Mary Help of Christians (Ivan Cankar) are examined for the needs of the research examples of Cankar's prose are included as well. The core task is to establish how the animal manifests itself in the text, what the relation with it is like an how this relationship is expressed. The thesis also considers the novel's relation to nature and human beings.

Diplomsko delo primerja Kafkove romane Amerika, Proces in Grad ter Smoletov roman Črni dnevi in beli dan na podlagi Camusove teorije absurda. Najprej vzpostavlja povezave med omenjenimi avtorji in nato povzame Camusova dognanja iz eseja Mit o Sizifu, iz katerih so izpeljane štiri komponente absurdnosti (želja, iracionalnost, tujstvo, upor), ki so zatem uporabljene kot osnova za analizo del. Primerjava spoznanj pokaže mnoge podobnosti med besedili, a tudi bistveno razliko, ki temelji na možnosti enačenja Kafkovih likov s pojmom absurdnega človeka in nasprotnostjo tega pri Smoletovih osebah. Undergraduate thesis compares Kafka's novels Amerika (The Man Who Disappeared), The Trial and The Castle and Smole's novel Black Days and the White Day. The comparison is based on Camus' theory of absurd. At first, the thesis sets the connections between the mentioned authors and then summarises Camus' knowledge from his essay The Myth of Sisyphus. The base for the texts analysis derives from this essay and consists of four components of absurdity (wish, irrationality, strangeness and revolt). Comparison then shows many similarities between novels, but also a major difference between Kafka and Smole: Kafka's' fictional characters can be unified with the terme "absurd human" and Smole's cannot.

Diplomsko delo obravnava štiri zaporniške - in sicer Tahar Ben Jelloun Ta slepeča odsotnost svetlobe, Vitomil Zupan Levitan, Arthur Koestler Mrk opoldne in Henri Charrière Metulj - romane z vidika žanrskih značilnosti. V začetnem delu predstavi zgodovinska ozadja vseh obravnavanih romanov, ker je to glavni razlog, da se protagonist zgodbe znajde v zaporu. Diplomsko delo poskuša odgovoriti na vprašanje, katere so žanrske značilnost zaporniškega romana, zato se v nadaljevanju osredotoča na kategorije, ki so pomembne, da lahko vse izbrane romane uvrstimo pod žanrsko oznako zaporniški roman. This thesis deals with prison literature from the point of view of genre characteristics in four novels: Tahar Ben Jelloun's This Blinding Absence of Light, Vitomil Zupanćs Levitan, Arthur Koestler's Darkness at Noon and Henri Charrière's Papillon. In the first part of the thesis I will present the historical background of each novel, because it plays a major role in the protagonist's incarceration. Since the main aim of my thesis is to determine the characteristics of prison literature, I will then focus on the categories that help us classify the aforementioned novels as prison literature.

V diplomski nalogi sem primerjala dve tragedij - Sofoklejevega Kralja Ojdipa in Mrakovega Chrysipposa. Vsebinsko sem analizirala obe deli, literarnovrstno opredelila tragedijo in izpostavila današnji obstoj literarne vrste kot take. Osredotočila sem se na dramsko zgradbo, trojno enotnost in vlogo mita pri obeh delih. Primerjala sem glavni dramski osebi, pomembne stranske like in usodno prerokbo ter se dotaknila tematike ljubezni, spoznanja, krivde, žrtvovanja in očiščenja v obeh delih. Skozi primerjavo sem analizirala tako antičnega kot tudi sodobnega historičnega posameznika. In my diploma thesis I compared two tragedies - Oedipus the King by Sophocles and Chrysippos by Ivan Mrak. I analysed the content of both works, established tragedy as a form, and highlighted today's existence of literary form as such. I focused on dramatic structure, dramatic elements, and role of myth in both works. I established the differences between main drama characters and between important side characters. I touched upon fatal prophecy and the theme of love, perception, guilt, sacrifice, and purification within both works. Through comparison I analysed both the ancient and the contemporary historic individual.

Mácha in Prešeren v češkem in slovenskem kulturnem prostoru zasedata pomembni mesti nacionalnih pesnikov in "kulturnih svetnikov", njuni pesnitvi Maj in Krst pri Savici pa sta pogosto opisani kot "nacionalni pesnitvi". Pesnitvi sta nastali v času narodnih prerodov, ko so se začeli oblikovati narodi, kot jih poznamo danes. V tem procesu je književnost v nacionalnih jezikih narodov brez razvite kulture igrala pomembno vlogo, in čeprav pesnitvi danes v češki in slovenski kulturi zasedata podobni mesti, sta v tistem času prožili zelo različne odzive. V tem diplomskem delu ugotavljam, da sta se, kljub navidezni podobnosti med usodama Máchove in Prešernove poezije, recepciji obeh pesnitev ključno razlikovali. Razlike izhajajo predvsem iz zgodovinskonacionalne tematike Krsta, ki se sklada s potrebami narodnega preroda, Mácha pa je s svojim subjektivizmom in zgledovanjem pri apolitični romantični književnosti zahodnih avtorjev zavrnil vlogo "nacionalnega pesnika", zato je njegova pesnitev sprva doživela močan odpor, s časoma pa se je s spreminjanjem odnosa do književnosti tudi Maj našel svoj prostor v češkem literarnem kanonu. Mácha and Prešeren play similar roles of national poets and "cultural saints" in Czech and Slovene cultures, while their poems May and Baptism at the Savica are described as "national poems". They were published in the time of national revivals, when the nations as we know them today were only beginning to form. Literature in the national languages played an important role in this process and despite the similar status the poems hold in their respective cultures today, they triggered very different reactions of the revivalist public. In my diploma thesis, I establish that despite the seemingly similar destinies of Mácha and Prešeren's poetry, receptions of May and Baptism at the Savica differ fundamentally. This is mainly due to the historically-nationalist topic of Baptism, which met the requirements of the national revival poetics, while Mácha, with his subjectivism and drawing inspiration from the apolitical romantic literature of the western authors, rejected the role of a "national poet". Because of this, his poem was strongly rejected by the revivalist critics. However, with the change of the attitude towards literature, May eventually found its place in the Czech literary canon.

Diplomsko delo se ukvarja s primerjavo tem med Čapkovo novelo Hordubal in drugo, tretjo in četrto novelo Tavčarjevega cikla V Zali. Gre za primerjavo treh tem - revščine, odnosa okolice ter ljubezni, ki je hkrati tudi osrednja in največja tema primerjave, saj usodno in pogubno vpliva na usode junakov in hkrati tudi povzroči njihov propad. Eden izmed glavnih sprožilnih dejavnikov za propad ljubezenskih razmerij je odhod junakov v Ameriko, njihova vrnitev pa povzroči tragični razplet, ki se pri Čapku konča s smrtjo, pri Tavčarju pa z zaporom, izgubo imetja, beračenjem oz. pijančevanjem. This diploma thesis is discussing the comparison of themes between Čapek's novell Hordubal and Tavčar's second, third and fourth novella from the cyclus V Zali. Comparison focuses on three themes - poverty, attitude of the surrounding people and love, which is also the main and the most crucial part of this comparison, because it majorly and deadly influences on characters' destinies that lead into demise. One of the most important triggers that destroy relationship is characters' departure to America and their return, which leads to disasters that at Čapek's end with death and at Tavčar's with imprisonment, poverty, begging, and alcoholism.

Diplomsko delo obravnava Osapski pasijon, rokopis, ki je bil leta 1964 najden v Ospu. Domneva se, da je nastajal med letoma 1625 in 1675, sestoji pa iz dveh zapisov evangelija po Mateju. Za namen analize je bil celoten rokopis najprej pretipkan v obliki diplomatičnega prepisa, kateri bo od sedaj naprej prosto dostopen na spletu, ponujajoč se za nadaljnje analize. V diplomskem delu je narejena raziskava o tem, kaj pasijon sploh je, kako sovpada v cerkveno leto in zgodovinska povezava Osapskega pasijona z župnijo v Ospu. Temu sledi še krajši slovarček manj znanega besedja iz rokopisa. V drugem delu naloge je analiza Osapskega pasijona in primerjava delov besedila med sabo, nato pa še z vsemi, takrat obstoječimi, izdajami Svetega pisma. The present thesis deals with the analysis of a manuscript, found in a village named Osp in 1964, called The Osp passion. It is thought to be written between the years of 1623 and 1675. It consists of two versions of the Book of Matthew, allegedly rewritings. For the means of the analysis, the text was rewritten into digital version in a form of diplomatic transcription, which will be from now on available on the World Wide Web. The thesis consists of research of what the passion is in general, how it falls into the context of a church year and its historical circumstances in connection to the Osp parish. That is followed by a short dictionary of the lesser known words from the text. The second part of the thesis shows the analysis of the manuscript itself and in comparison to the other Bible editions, that were existing in that time.

Namen diplomskega dela Slovenske ustreznice za češka oziralna zaimka ki in kateri je ugotoviti, v kolikšni meri se da češka oziralna zaimka který in jenž nadomestiti s slovenskima kateri in ki in katere so druge možne ustreznice prevoda. S tem sta ozko povezani tudi postavitev omenjenih oziralnih zaimkov v posameznem jezikovnem sistemu in kompetenca, kako govorci dejansko obvladajo njihove oblike in njihovo distribucijo v jeziku. Diplomsko delo je sestavljeno iz teoretičnega in praktičnega dela, ki sestoji iz treh delov. V teoretičnem delu so opredeljeni zaimki na splošno, oziralni zaimki s poudarkom na zaimkih který, jenž, kateri in ki, na opisu teorij o njihovem razvoju, poimenovanju, klasifikaciji, slovnični vlogi ter njihovih sodobnih oblikah. V prvem in drugem delu praktičnega dela so tabelarno in grafično predstavljene analize primerov iz romana Jak se dělá chlapec in njegovega prevoda v slovenščino Kako se naredi fant. Rezultati so pokazali, da se jenž vanaliziranem besedilu relativno malo uporablja, vendar se v predložni rabi še vedno več pojavlja kot který, kar odgovarja opisom v čeških slovnicah. S primerjavo smo prispeli do zaključkov, da se čeških oziralnih zaimkov který in jenž ne da povsod nadomestiti s ki in kateri. Posebno relevantna je ugotovitev, da ne smemo enačiti rabe češkega oziralnega zaimka který s slovenskim kateri, katerih fonetična podoba in formalni izgled bi lahko k temu zapeljala. Ugotovimo, da v češkem jeziku obstajajo leksikalna in sintaktična jezikovna sredstva, ki lahko nadomeščajo který in jenž, medtem ko v slovenščini takšnih ustreznic ni. V tretjem delu pa ugotovimo, da so Slovenci glede na kodifikacijo knjižnega jezika nagnjeni k napačnemu uporabljanju kateri in da Čehi ne znajo več tvoriti nekaterih oblik oziralnega zaimka jenž. Cílem diplomové práce Slovenske ustreznice za češka oziralna zaimka ki in kateri je ukázat do jaké míry se dají česká vztažná zájmena který a jenž nahradit slovinskými ki a kateri a jaké jsou jiné vhodné alternativy překladu.S tím úzce souvisí i pozice těchto vztažných zájmen v každém jazykovém systému zvlášt', a to, jak mluvčí vlastně ovládají jejich tvary a jejich distribuci v daném jazyku. Diplomová práce se skládá z teoretické a praktické části, která se dále dělí na tři části. V teoretické části jsou popsána zájmena všeobecně se zvláštním důrazem na vztažných zájmenech který, jenž, kateri a ki, na popisu teorií jejich vývoje, pojmenování a klasifikace, jejich gramatické role a současných tvarů. V prvním a druhém dílu praktické části jsou prezentovány v tabulkách a ve schématech analýzy výskytů předmětných zájmen z románu Jak se dělá chlapec a jeho překladu do slovinštiny Kako se naredi fant. Výsledky ukázaly, že je zájmeno jenž v analyzovaném textu poměrně málo užíváno, pouze v předložkových tvarech se stále objevuje výrazně častěji než který, což odpovídá popisu v českých gramatikách. Srovnáním jsme dospěli k závěru, že česká vztažná zájmena který a jenž nemohou být všude nahrazena slovinskými ki a kateri. Zvláště důležité jeuvědomit si, že nemůžeme porovnávat užití českého který se slovinským kateri, jehož fonetická a formální podobnost by k tomu mohla svádět. Zjistili jsme, že v češtině existují lexikální a syntaktické prostředky, které mohou nahradit který a jenž, zatímco slovinština takové alternativy nemá. V třetí části diplomové práce pomocí anket potvrdíme, že Slovinci mají sklon podle kodifikace spisovného jazyka k nesprávnému používání zájmena kateri a Češi, žeuž neumějí správně tvořit některé formy vtažného zájmena jenž.

In this paper I discuss the phenomenon of mirror image properties in human languages. I give examples from English, Polish, Malay, Gothic, Latin and Classical Greek. Although I take into consideration only a few languages, my paper has further implications, namely, that mirror image properties exist in any language of the world. I start with a description of the natural phenomenon of mirror image and then extend my discussion to language. I talk about mirror image sentences, reduplication, and palindromes. Avtor na podlagi primerov iz angleščine, poljščine, malajščine, gotščine, latinščine in klasične grščine razpravlja o lastnostih zrcalnih podob v človeških jezikih. Kljub upoštevanju omejenega števila jezikov ugotavlja, da je lastnost zrcalne podobe značilnost vseh jezikov sveta. Razprava, ki se začenja z opisom naravnega pojava zrcalne slike in se nadaljuje z opazovanjem tega pojava v jeziku, prikazuje lastnosti zrcalne podobe na primeru stavkov, podvojitev in palindromov.

Vzporednosti med slovensko in češko poetično dramo Namen prispevka je tematizirati sorodnosti med slovensko in češko poetično dramo v šestdesetih letih 20. stoletja. V primerjalni analizi so izpostavljene vzporednice med dramami Daneta Zajca in Josefa Topola ter Josefa Topola in Gregorja Strniše. V Zajčevih in Topolovih dramah se pojavljajo podobne intimne teme in motivi, kot sta fenomen ljubezni in časa. Najbolj izrazite so sorodnosti med Topolovo igro Slavček za večerjo in Strniševimi Ljudožerci. Pri obeh se dogajanje razvije v groteskno, absurdno igro, ki že izraža doživetje in spoznanje o absurdu v svetu. This article concentrates on the parallels between Slovene and Czech poetic drama in the nineteen sixties. I recognise similarities between the playwrights Dane Zajc, Josef Topol, and Gregor Strniša. Comparative analysis of Zajc’s and Topol’s texts exposes similar intimate themes, such as motives of love and the phenomena of time. The most vivid comparison is between Topol’s play Slavík v večeří and Strniša’s play Ljudožerci. In both plays, the dramatic plot is constructed as grotesque and absurd play. The dramatic perspective shows the experience of the absurd in the world.

Primož Trubar in Bartolomé de Las Casas sta bila sodobnika. Najti je mogoče številne vzporednice v življenju obeh avtorjev (oba sta veliko potovala, s svojim delovanjem sta povzročala konflikte opus obeh je obsežen, žanr polliterarni, stil pa precej podoben). Toda oba se tudi močno razlikujeta. V glavnem se razlikujeta glede pripadnosti različnima religioznima gibanjema 16. stoletja in njunega različnega pogleda v razumevanju podobe. Primož Trubar and Bartolomé de Las Casas were contemporaries. It is possible to draw several parallels regarding the life and work of both authors (they both travelled extensively, they caused conflicts due to their activities, their opus is extensive, their genre being semi–literary, and their style is quite similar). But they also differ in many respects. These differences are mainly due to the sense of belonging to two great religious movements of the 16th century and their different attitude regarding the meaning of images.

Ján Kollár oziroma dobre lastnosti slovanskega naroda? Študija opozarja na Kollárjevo parno pridigo, ki je imela velik vpliv na nacionalno zavest sodobnih slovanskih narodov. Kollár razpravlja o petih dobrih lastnosti slovanskih narodov: njihovi pobožnosti, marljivosti, veselosti, ljubezni do materinščine in popustljivosti do drugih narodov. Med možne prototipe te pridige sodi članek Jánosa Horvátha z naslovom O verskem in moralnem stanju starih Madžarov v izdaji Tudományos Gyűjtemény iz leta 1817. Način prevzemanja lahko razumemo tudi kot ustvarjalno umetniško dejavnost, s katero je Kollár znatno reinterpretiral omenjene lastnosti in jih prenesel na slovanski narod. This study calls attention to Kollár’s two-part sermon which exerted a large influence on the national consciousness of the modern Slav nations. Kollár discusses five good qualities of the Slav nation: its godliness, diligence, cheerfulness, love of mother tongue, and forbearance towards other nations. Among the possible prototypes of this sermon are a paper by János Horváth, entitled “On the Religious and Moral Condition of the Hungarians” in the 1817 volume of Tudományos Gyűjtemény. The manner of adoption can be seen as creative artistic activity, in the course of which Kollár significantly reinterpreted the qualities in question and applied them to the Slav nation.

Predstavljeno diplomsko delo Ironija v romanih V. Zupana, F. Cèlina in H. Millerja obravnava tri romane velikih pisateljskih imen. Izpostavljene so vzporednice med njihovimi deli, v središču pozornosti je ironija, ki v vseh treh romanih kot glavno stilno sredstvo besedilo povezuje kohezivno in koherentno, spaja pa se še z drugimi motivi, med glavnimi sta (homo)erotika in avtobiografskost. Ironija se prepleta tudi z močno poudarjeno simboliko, najbolj razvidna je pri Zupanu, kjer je izrazita barvna simbolika. Prisotna je že pred začetkom branja v vseh treh naslovih, kjer poskušam ugotoviti, ali so ti naključje ali namernost. Bistvo diplomskega dela je primerjava dveh tujih romanov (Rakov povratnik in Potovanje na konec noči), ki po svoji kvaliteti segata v sam svetovni vrh, s slovenskim romanom Potovanje na konec pomladi, saj dandanes še vedno ni dovolj poudarjeno, da je obravnavan slovenski roman po svojem slogu in kvaliteti kvalificiran za v sam vrh evropske in svetovne literature. Po kvaliteti in slogovni spretnosti, predvsem z ironizacijo, pa druga dva evropska primerjalna romana celo presega. My thesis with the title Ironija v romanih V. Zupana, F. Cèlina in H. Millerja (Irony, (homo) erotica and autobiographic elements in the novels of V. Zupan, F. Celine and H. Miller) presents three great authors and their novels. The parallels between their works are exposed, in the centre of attention is irony, which is the main stylist in all three novels and connects the text cohesively and coherently, and merges with other motifs, eroticism and autobiography being the main ones among others. Irony also intertwines with symbolism that is strongly emphasised, and is most evident in Zupan's work, where there is a very prominent colour symbolism. It is present already before the beginning of the reading in all three addresses where I tried to establish whether they were written on purpose or by coincidence. The essence of the thesis is the comparison of two foreign novels (The Topic of Cancer and Journey to the End of the Night) which reach the very top of the literature over the world due to their high quality with the Slovene novel Travel to the End of the Spring (Potovanje na konec pomladi). Today it is still not emphasized sufficiently enough that the Slovene novel with its style and quality belongs to the very top of European and world literature. By the quality and the stylistic skills, especially by ironisation, it even exceeds the other two European novels that were used as a comparison in my thesis.

V skladu z vse večjo enakopravnostjo spolov v družbi se spreminja tudi jezik. Jezikovni priročniki narekujejo rabo generičnega moškega spola kot nezaznamovanega, medtem ko se v rabi pojavljajo novi načini za izražanje spola, npr. oblika zapisa s podčrtajem. V slovenskem in francoskem jeziku poznamo več različnih načinov za izražanje spola, med katerimi so tudi nove okrajšane oblike. Ker niso še zadostno raziskane, se pojavljajo številne napake pri zapisovanju, pomembno pa je tudi vprašanje o primernosti rabe okrajšanih oblik v različnih tipih besedil. Following the general movement towards gender equality in our society, language is evolving accordingly. While language guides dictate the use of masculine gender as unmarked, new ways of expressing gender are being used (for example, the underscore format). There are several different ways of expressing gender in the Slovene and French language, including new abbreviated forms. As these remain insufficiently researched, misspelling is a frequent occurrence furthermore, another significant question on the adequate usage of abbreviations in different types of texts still remains.

V diplomskem delu se predstavi frazeologijo in njena poimenovanja osnovnih enot ter lastnosti frazemov. Pregleda se učbenik za poučevanje slovenščine kot drugega/tujega jezika za nadaljevalno stopnjo učenja. Poskuša se najti prekrivnost oziroma neprekrivnost izbranih frazemov v slovenščini, hrvaščini, srbščini in makedonščini ter na koncu ob anketi tujih študentov analizirati njihovo prepoznavanje in razumevanje slovenskih frazemov v slovarski obliki in sobesedilu. In this thesis, we present phraseology and its denomination of basic units, as well as the properties of idioms. We examine a textbook for teaching Slovene as a second/foreign language for an intermediate level. We attempt to find overlaps, or a lack thereof, of chosen idioms in the Slovene, Croatian, Serbian and Macedonian languages and, finally, through a survey of foreign students, we analyse their recognition and understanding of Slovene idioms in their lexical form and within context.

To diplomsko delo se ukvarja s problemom literarne osebe v izjemnih življenjskih okoliščinah. Za izhodiščno delo, ki ga bom obravnaval, sem izbral roman Menuet za kitaro Vitomila Zupana, kot primerjalni roman pa delo Ernesta Hemingwaya Komu zvoni. Pri prvem romanu gre na eni strani za čas in prostor druge svetovne vojne na slovenskih tleh ter na drugi za letoviško vzdušje ob španski obali. Pri drugem romanu pa je pripovedno ozadje španska državljanska vojna v drugi polovici tridesetih let dvajsetega stoletja. Gre torej za literarni deli, ki nosita neke podobne zgodbene in časovne podstavke, ampak vsako v svoji pripovedi problem glavne literarne osebe osvetljujeta na med seboj precej drugačen način. This thesis focuses on problems of literary characters within extreme life circumstances. I take A Menuet for Guitar by Vitomil Zupan as a starting work, and Ernest Hemingway's For Whom the Bell Tolls as its comparative novel. Zupan's novel is structured around two separate narratives: the first takes place during World War II in Slovenia, and the second is situated thirty years later on the Spanish coast in a resort atmosphere. The narrative background of Hemingway's novel is the Spanish Civil War in the second part of the 1930s. The two stories share similar bases of narrative themes and time elements. However the issues of their main literary characters are posed and brought to light in quite different ways.

Magistrsko delo skuša prikazati podobnosti indijskih basni s kasnejšimi basnimi iz opusov nekaterih osrednjih basnopiscev svetovne književnosti, kot so Ezop, La Fontaine, Krilov, Lessing in z basnimi nekaterih basnopiscev iz slovenske književne tradicije kot so Valentin Vodnik, Anton Martin Slomšek, Fran Levstik, Matija Valjavec, Dragotin Kette in Janez Trdina. Osrednje delo, na katerega se sklicujem, je Pančatantra, ki velja za zbirko najstarejših indijskih basni, le da jih takrat še niso tako poimenovali. Čeprav Ezop velja za začetnika literarne vrste basni, je basen v ljudskem izročilu nastajala že prej. V Ezopovih basnih najdemo kar nekaj podobnosti s kasnejšimi basnopisci. Zanimalo me je, če gre za konkretne vplive enega dela na drugega, ali pa gre zgolj za podobne motive, teme, kulturne značilnosti, nauke in vsebino. Za primerjavo z drugimi svetovnimi in slovenskimi basnopisci sem uporabila le tiste Ezopove basni, pri katerih sem že našla tesne podobnosti s tistimi iz Pančatantre. Raziskava mi je potrdila dejstvo, da je basen najmanj izvirna literarna vrsta, saj četudi ne gre za konkretne vplive med pisci, je med njimi mogoče najti podobne motive, teme, nanašanja na kulturne značilnosti in literarno-vrstno utemeljeno prisotnost nauka. The attempt of this master's degree is to show the similarities between the fables of India and later world known authors of fables like: Aesop, La Fontaine, Krilov, Lessing in Fajderus and some Slovenian writers of fables: Valentin Vodnik, Anton Martin Slomšek, Fran Levstik, Matija Valjevec, Dragotin Kette in Janez Trdina. My main text of reference is Pancatantra which is counted as one of the oldest fables of India, although it was not named fable at that time. My finding is that Aesop cannot be rightfully counted as the originator of fable, even though we can find quite a few similarities with the later authors of fables. I investigated if there was any influences of one work on others or were all the similarities just due to the fact that narration was dealing with similar motifs, topics, morals, lessons and similar subjects and based on cultural characteristics. For the purpose of comparison with other authors of fables - Slovene and foreign alike - I used only those fables of Aesop in which I have already found many close similarities with the stories narrated in Pancatantra. My research proved a fact, that a fable is of the least original literary forms because even there is no tangible influences of one author on another, there is still possible to find similar motifs, themes, cultural characteristics morals and similar contents.

Diplomsko delo obravnava problematiko homofobije in transfobije, ki se kaže skozi negativen in diskriminatoren odnos do gejev, lezbijk, biseksualcev ter transspolnih oseb na podlagi njihove spolne identitete, spolnega izraza in spolne usmerjenosti. Opravljena je tudi literarna analizira motiva homofobije in transfobije v dveh sodobnih romanih, in sicer slovenske avtorice Suzane Tratnik z naslovom Ime mi je Damjan ter češke pisateljice Zuzane Brabcové Leto biserov. Analiza romanov se osredotoča predvsem na raziskovanje, kako se v besedilih kaže motiv homofobije in transfobije, kdo ga izraža ter na kakšen način se z njim spopadajo literarni junaki. In my diploma work I present problems of homophobia and transphobia. Both phenomena manifest themselves in a negative and discriminatory attitude towards gay, lesbian, bisexual and transsexual persons as a consequence of their gender identity, gender expression and sexual orientation. I have thus included a literary analysis of the motifs of homophobia and transphobia in two contemporary novels into my diploma work. The first novel is My Name Is Damjan (Ime mi je Damjan) by a Slovene author Suzana Tratnik and the second novel is The year of pearls (Leto biserov) by a Czech author Zuzana Brabcová. In analysing the two novels, I have mostly concentrated on researching how the motifs of homophobia and transphobia are depicted in the novels, who they are expressed by and how literary characters deal with them.

Govorjenje je proces, ki ga usvojimo pred zmožnostjo pisanja in je pomemben del našega vsakdanjega življenja. Načeloma ga usvajamo iz okolja, kar pomeni, da ne gre za govor, ki bi bil prvotno knjižni, marveč slednjega usvajamo preko socializacije, in sicer v največji meri med izobraževanjem. Prvotno se torej posameznik nauči krajevnega govora, med katere spadata tudi ljubljanski in skopski krajevni govor. Njune morebitne vplive fonoloških lastnosti na govorjeni knjižni jezik smo opazovali v osmih televizijskih oddajah (štiri slovenske, štiri makedonske), kjer je bil analiziran določen segment govora. Rezultati so pokazali, da oba govora prestolnic na fonetsko-fonološki ravni v analiziranih oddajah vplivata na govorjeni knjižni jezik pri obeh tipih govorcev (voditelji in gostje), tako na nacionalni kot tudi na komercialni televiziji in pri obeh tipih oddaj (informativne in zabavne). To kaže na nekompetenco v izražanju ter prešibko skrb za knjižni jezik, kar pa ni zanemarljivo dejstvo, saj se od govorcev, ki se pojavljajo na tako gledanem mediju, pričakuje jezikovna kompetenca, kar pa v našem primeru ni bilo potrjeno. Speaking is the process which we adopt before writing ability and is an important part of our everyday lives. In principle, we assimilate it from the environment, which means that it's not a speech, that was primary the literary, but the latter acquired through socialization and in large part during the course of education. Therefore, originally the individual firstly learns the local speech, which includes the Ljubljana and Skopje local speech. Their possible effects of the phonological features on the spoken literary language were looked for in eight talk shows (four Slovenian, four Macedonian), which was analyzed in a particular segment of speech. The results showed that both local speeches of the capitals on the phonetic-phonological level in the analyzed talk shows influence the spoken literary language with both types of speakers (hosts and guests), both at the national and as well on commercial television and in both types of talk shows (informative and entertainment talk shows). That presents the incompetence in the expression and the lack of concern for the literary language, which is not a negligible fact, because the expectations from the speakers, which appear on viewed media, is that they are highly language skilled, which in our case was not confirmed.

Magistrsko delo preučuje pojav t. i. sinestetičnih metafor, pri katerih je eno čutno področje opisano v okviru drugega (npr. svetel zvok, oster okus, sladek vonj). Cilj primerjalne raziskave, ki temelji na analizi slovenskih in francoskih glasbenih kritik, je ugotoviti, katera čutna področja sodelujejo pri (sinestetičnem) opisu slušnih zaznav oz. natančneje glasbe in kakšna je njihova zastopanost. Pri tem se preverja načelo usmerjenosti, po katerem naj bi se sinestetični prenosi vršili v smeri od bolj konkretnih nižjih čutov (tip, okus, voh) k abstraktnejšim višjim čutom (vid, sluh). Pomemben predmet raziskave predstavlja tudi vprašanje ustaljenosti zbranih sinestetičnih izrazov in njihove vrednotenjske zaznamovanosti. Ker tako izhodiščno kot ciljno področje sinestetičnih prenosov zastopajo izrazi čutnega zaznavanja, je relevanten izkustveni - tj. čutnozaznavni, spoznavni in družbeno-kulturni - vidik pojava, pri čemer se kot ključno zastavlja vprašanje univerzalnosti in kulturne pogojenosti sinestetičnih zvez. This paper analyses a phenomenon called synaesthetic metaphors, in which one sensory modality is described in terms of another (e.g. bright sound, sharp taste, sweet smell). The aim of the research, based on the contrastive analysis of Slovenian and French music reviews, is to determine which sense domains are employed for (synaesthetic) description of sound, more precisely music, and how frequent they are. In this regard the paper examines the directionality principle according to which more concrete and more accessible lower senses (touch, taste, smell) tend to map onto less concrete and less accessible higher senses (sound, sight). Furthermore, the analysis focuses on two other aspects: the conventionality of synaesthetic metaphors and their connotative meaning. Since the source and target domain in synaesthetic transfers belong to sense domains, the paper emphasize the experiential - i.e. perceptive, cognitive, and sociocultural - dimension of this phenomenon, with regard to which rises the main question concerning the universal and cultural tendencies of synaesthetic metaphors.