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Afazija je stečeni poremećaj na razini jezika koji pogađa sve jezične sastavnice. Razumijevanje rečenica u kojima redoslijed riječi odudara od uobičajenog veoma je teško za osobe s afazijom (Dronkers, Wilkins, Van Valin, Redfern i Jaeger, 2004). Još je uvijek nejasno proizlaze li teškoće razumijevanja rečenica iz odstupanja u pojedinačnim procesima raščlambe i interpretacije rečenica ili osobe s afazijom imaju ograničenu sposobnost za izvođenje višestrukih operacija, ali sigurno je da njihovom istraživanju treba posvetiti više pažnje. Glavno pitanje kojim se bavi ovaj rad je do koje mjere morfološki ključevi mogu utjecati na izvedbu osoba s afazijom na zadacima razumijevanja rečenica. U istraživanju je ispitano 10 osoba s afazijom i 30 osoba urednog jezičnog statusa metodom praćenja pokreta očiju. Ispitanici su slušali rečenice koje su se razlikovale prema redoslijedu riječi (subjekt-predikat-objekt i objekt-predikat-subjekt) i prisustvu morfološkog ključa (glagolski nastavak za perfekt koji se sa subjektom slaže u rodu i broju). Rezultati su pokazali statistički značajne razlike u prosječnom broju fiksacija između osoba s afazijom i osoba urednog jezičnog statusa na svim tipovima rečenice što nam omogućuje bolje razumijevanje jezične obrade kod osoba s afazijom. Pokazalo se da nema statistički značajne razlike u obradi rečenica koje imaju prisutan morfološki ključ na glagolu iz čega se zaključuje da se sudionici ne oslanjaju na morfologiju u interpretaciji rečenica. Detaljnom analizom rezultata i opažanjem tijekom istraživanja primjećuje se da osobe s afazijom odgađaju odluku raščlambe na objekt i subjekt rečenice i kasnije gledaju u ciljanu fotografiju što pokazuje da osobe s afazijom nisu sposobne predviđati značenje rečenice prije njenog kraja i da im morfološki ključevi u rečenici u tome ne pomažu. Sveukupno, rezultati istraživanja pokazuju sporiju, ali i drugačiju jezičnu obradu osoba s afazijom u odnosu na osobe urednog jezičnog statusa. Ovaj rad predstavlja doprinos u razumijevanju afazije u jezicima s bogatom morfologijom, ali istodobno ukazuje na mnoga neriješena pitanja o tome što je osobama s afazijom potrebno za razumijevanje rečenica., Aphasia is an acquired language disorder which affects all the components of the language. Comprehension of the sentences in which the word order varies from the usual is extremely difficult to people with aphasia (Dronkers, Wilkins, Van Valin, Redfern & Jaeger, 2004). It is still unclear whether the difficulties connected to sentence comprehension come from variations in separate processes of distribution and interpretation of the sentences or people with aphasia have limited ability to perform multiple operations. However, it is certain that this research needs more attention. Main question that this thesis deals with is to which degree can morphological keys affect the performance of people with aphasia in tasks of sentence comprehension. In the research there were 10 subjects with aphasia and 30 subjects with regular language status who were questioned using the method of eye tracking. The subjects listened to the sentences which differed in word order (subject-verb-object and object-verb-subject) and in the presence of the morphological key (verb extension for perfekt which is in agreement with the subject in its number and gender). The results showed statistically significant differences in the average number of the fixations between the subjects with aphasia and subjects with regular language status which gives us better understanding of the language processing in people with aphasia. The research showed that there is not statistically significant difference in language processing of the sentences where morphological key is present which leads to conclusion that the subjects do not rely on morphology when interpreting a sentence. A detailed result analysis and observation during the research show that people with aphasia delay the decision of the object and subject division in a sentence and later they look at the target photograph which shows that they are not able to anticipate the meaning of the sentence before its ending and that the morphological keys of a sentence do not help in doing so. In total, the results show slower, but also different language processing when comparing people with aphasia to people with regular language status. This thesis contributes understanding aphasia in languages with rich morphology, but at the same time it points out many unanswered questions about what people with aphasia need in order to understand sentence.

Diplomsko delo se osredotoča na analizo lika terorista v romanu Germinal avtorja Émila Zolaja in na primerjavo likov teroristov v svetovni književnosti 19. stoletja. Émile Zola je francoski naturalistični pisatelj, oče naturalizma. Snov v njegovih romanih je bila za družbo 19. stoletja včasih popolnoma nesprejemljiva, zato je vedno znova razburil javnost. Bralci pa so navkljub temu iz radovednosti njegove knjige kupovali in se zgražali ob opisih v njih. Njegovo najpomembnejše in hkrati najobsežnejše delo je cikel dvajsetih romanov o rodbini Rougon-Macquartovih. Cikel, v katerega sodi tudi roman Germinal, na osnovni dednostne teorije prikazuje razvoj in razkroj številne družine in zgodovino takratne vladajoče družbe. Namen diplomske naloge je bil, da v romanu Germinal potrdim tezo, da je Émile Zola liku terorista v romanu dodal novo dimenzijo, ki je spremenila odnos sveta do njega. Iz podrobne analize lika terorista je razvidno, da je dal pisatelj liku terorista pozitivno oznako, kar je v nasprotnem pričakovanju z današnjo oznako tega tipa osebnosti. Vse teorije o teroristih namreč poudarjajo njihove negativne značilnosti in lastnosti. Z analizo in primerjavo likov teroristov svetovne književnosti v 19. stoletju je bilo ugotovljeno, da ne obstaja enotna stereotipna podoba terorista, temveč je ta odvisna predvsem od osebnih stališč, mnenj in poimenovanj pisateljev. Roman Germinal poleg pojava lika terorista prikazuje vse tri determinante naturalizma. Iz analize jezika in karakterizacije oseb je bilo ugotovljeno, da je v ospredju romana kolektivizem in ne individualizem. Je eksperimentalni roman, ki prikazuje fizično in fiziološko življenje rudarjev. V romanu prevladuje pripoved o zavesti lika, saj v romanu nastopa vsevedni pripovedovalec, ki včasih prehaja v personalnega. In my diploma thesis I analysed the character of a terrorist in Émile Zola's novel Germinal and I also compared some terrorist characters in the 19th century world literature. Émile Zola was a French author, the best-known practitioner of the literary school of naturalism. As the subject of his novels was often completely unacceptable for the 19th century society, he frequently shocked the public. However, the readership continued buying his books and frowning upon the descriptions in them. Germinal is a novel in his most significant and lengthy, twenty-volume series about the Rougon-Macquart family. The novels portray the development and disintegration of a large family and the history of the then governing society on the basis of Zola’s genetic theories. My aim was to support the thesis that in Germinal, Émile Zola added a new dimension to a terrorist character, which changed the world’s attitude towards it. A detailed analysis of the terrorist character has revealed that the author labelled it as positive, which differs greatly from today’s opinion. Nowadays, all the theories of terrorists emphasize their negative characteristics and qualities. The analysis and comparison of terrorists in the 19th century world literature have shown that there is no unified stereotypical image of the terrorist, which obviously depends on the author’s personal opinion and conception. The novel Germinal portrays not only the terrorist character, but it also shows all three characteristics of naturalism. The analyses of language and characters have revealed that collectivism and not individualism is predominant. It is an experimental novel, portraying physical and physiological life of coal miners. Throughout the novel the stream of the character’s consciousness prevails, as the narrator is omniscient, occasionally becoming a first-person narrator.