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Magistrsko delo se ukvarja s poezijo ameriškega pesnika Franka O’Hare v poljskem prevodu Piotra Sommerja. Frank O’Hara je ustvarjal na sredini dvajsetega stoletja in je glavni predstavnik newyorške pesniške šole, ki predstavlja odmik od resnobnosti in hermetičnosti visokega modernizma. Njegov pesniški izraz med drugim zaznamujejo prozaizacija, dialoškost, kopičenje lastnih imen, mešanje nizkega in visokega, camp in humor, prepletanje realističnega in nadrealističnega podobja ter skladenjska dvoumnost. V osemdesetih letih dvajsetega stoletja je O’Haro v poljščino uvedel prevajalec in literarni urednik Piotr Sommer, čigar prevodi so naleteli na neverjeten odziv med mlajšo generacijo poljskih pesnikov. Sommerjevo prevajalsko delo je predstavljeno v luči Jarniewiczeve tipologije prevajalcev, polisistemske teorije ter njegovih lastnih refleksij o prevajanju. Osrednji (empirični) del magistrskega dela se posveča stilistični analizi izbranih pesmi in njihovih prevodov v poljščino ter skuša ugotoviti, do kakšnih prevajalskih premikov je prišlo in kako dobro je Sommerju uspelo poustvariti O’Harov specifičen pesniški jezik. This master’s thesis explores the poetry of the American poet Frank O’Hara and its Polish translations by Piotr Sommer. O’Hara, active in the mid-twentieth century, is the main representative of the New York School of poetry, which represents a departure from the solemnity and hermeticism of high modernism. His poetic expression is characterized by prosaicism, dialogism, name-dropping, interplay of high and low, camp and humor, the fusing of realist and surrealist imagery and syntactic ambiguity. In the 1980s, O’Hara was introduced into Polish by the translator and literary editor Piotr Sommer, whose translations had a profound influence on the Polish poetry scene. Sommer’s translation work is analyzed in the light of polysystemic theory, Jarniewicz’s typology of translators, and his own reflections on translation. The central (empirical) part of the thesis is devoted to stylistic analysis of selected poems and their translations into Polish, with the aim of establishing what translation shifts occurred, and ultimately how well Sommer managed to recreate O’Hara’s specific poetic language.

Magistrsko delo prikazuje poetiko sodobne pesnice Ifigenije Simonović s pomočjo jezikovnostilistične analize njenega pesniškega opusa za odrasle. Teoretični del opredeljuje jezikovno stilistiko, značilnosti umetnostnih besedil ter umetnostnega jezika. Praktični del prikazuje temeljne značilnosti avtoričinega sloga ter njegovo spreminjanje in razvoj skozi čas. Delo se osredotoča na vlogo in učinke rabljenih jezikovnih in pesniških sredstev ter na povezavo med jezikovnim izrazom oz. obliko in vsebino pesmi. Vsaka pesniška zbirka je analizirana z vidika zunanje zgradbe, zvočnega, besednega in stavčnega sloga, izpostavljeni pa sta tudi medbesedilnost in frazeologija. V magistrskem delu so predstavljene tudi temeljne vsebinske značilnosti poezije Ifigenije Simonović, zato se jezikovnostilistična analiza pogosto povezuje in prepleta z literarno interpretacijo ter literarnostilistično analizo. This master's thesis shows the poetics of contemporary poet Ifigenija Simonović with the help of a linguo-stylistic analysis of her poetic oeuvre written for adult readers. The theoretical part defines linguistic stylistics, the characteristics of artistic texts and artistic language in general terms. The practical part shows the fundamental characteristics of the author's style, as well as its changes and development over time. The thesis focuses on the roles and effects of the linguistic and poetic devices used by the author, as well as on the connection between the linguistic expressions, including the connection between the forms and contents of the poems respectively. Each poetry collection is analysed from the point of view of the external structure and from the point of view of the author’s soundscape style, verbal style and the style of her sentence structures, while there is also an emphasis on intertextuality and phraseology. The master's thesis also presents the fundamental characteristics of the contents in Ifigenija Simonović's poetry, which is why the linguo-stylistic analysis is often connected to and intertwined with the literary interpretation and literary analysis.

Promišljanjima i stavovima hrvatskog polihistora Miroslava Krleže (1893–1981) o znamenitu njemačkom filozofu Immanuelu Kantu (1724–1804) i njegovu nauku dosad nije posvećena primjerena pozornost. Međutim, to ne znači da Krleža nije bio upućen u sadržaj i osobitosti Kantova nauka. Štoviše, u Krležinu opusu prisutne su brojne prosudbe o Kantu i njegovu učenju, pri čemu napominjemo da je Krleža napisao i dva teksta koja je u cijelosti posvetio Kantu: članak »O dvestogodišnjici rođenja Imanuela Kanta«, koji je otisnut 1924. godine, te neobjavljeni tekst naslovljen Kant, koji je sastavni dio Krležine rukopisne ostavštine i koji je najvjerojatnije nastao tijekom 1939. godine. Krležine prosudbe o Kantu moguće je sagledati iz različitih perspektiva. Pristup promišljanjima o temama i misliocima kojima je Krleža bio zaokupljen nerijetko nadilazi disciplinarne okvire, zbog čega njegov opus uvelike obilježava interdisciplinarnost. O Kantu i njegovu nauku Krleža se, očekivano, očitovao iz filozofske, posebice povijesnofilozofske, logičke, spoznajnoteorijske i etičke perspektive. Osim toga, Kanta i njegova učenja sagledao je i iz perspektivā književne stilistike, povijesti, politologije, antropologije, pedagogije i medicine. Pritom je iskazao upućenost u sadržaj brojnih Kantovih tekstova, posebice u sadržaj djela Kritika čistoga uma i djela Prema vječnom miru, ali i u sadržaj članka »Ideja opće povijesti s gledišta svjetskoga građanstva«, kao i članka »Nagađanja o početku povijesti čovječanstva«. Kada je sagledavao Kantovu filozofsku misao, Krleža je najčešće bio usredotočen na Kantov ‘kopernikanski obrat’ u načinu spoznaje materijalnih stvari. Iz perspektive književne stilistike Kant je isprva ocijenjen kao mislilac koji je pisao diletantski, da bi u konačnici bio ocijenjen kao mislilac koji je pisao u stilu svojega vremena: krilato i idejno uzvišeno. Kada je Kanta sagledavao iz perspektive povijesti, Krleža ga je razumijevao kao mislioca koji je obilježio 18. stoljeće, dok ga je iz perspektive politologije odredio kao pristalicu jakobinaca. Kada je iznosio antropološke i pedagoške nazore, Krleža je čovjekovu budućnost sagledavao vrlo pesimistično, jer je bio uvjeren da čovjek svoj odgoj i postupke neće temeljiti na Kantovim zamislima, pa tako ni na onima zabilježenima u djelu Prema vječnom miru. Naposljetku, kada je o Kantu i njegovu nauku promišljao iz perspektive medicine, zaključio je da su Kantove spoznaje o duševnim oboljenjima bliže skolastici nego renesansi., The reflections and attitudes of the Croatian polymath Miroslav Krleža (1893–1981) on the famous German philosopher Immanuel Kant (1724–1804) and his teaching have not received adequate attention thus far. However, this does not mean that Krleža was not acquainted with the content and pecularities of Kant’s teaching. Moreover, Krleža’s opus contains numerous judgments of Kant and his teaching, noting that Krleža also wrote two texts entirely dedicated to Kant: the article “On the Occasion of the Bicentenary of Immanuel Kant’s Birth,” published in 1924, and an unpublished text entitled Kant, which is an integral part of Krleža’s manuscript legacy and which most probably originated during 1939. Krleža’s assessments of Kant can be viewed from different perspectives. The approach to reflections on topics and thinkers with which Krleža was preoccupied often went beyond disciplinary frameworks, which is why his opus is largely marked by interdisciplinarity. As expected, Krleža wrote about Kant and his teaching from a philosophical perspective, particularly from the perspectives of history of philosophy, logic, theory of knowledge and ethics. Moreover, he also viewed Kant and his teaching from the perspectives of literary stylistics, history, political science, anthropology, pedagogy and medicine. Thereby he expressed his knowledge of the content of numerous Kant’s texts, especially the content of the work Critique of Pure Reason and the work Toward Perpetual Peace, but also the content of the article “Idea for a Universal History from a Cosmopolitan Perspective,” as well as the article “Conjectural Beginning of Human History.” When reflecting on Kant’s philosophical thought, Krleža was most often focused on Kant’s ‘Copernican revolution’ in the way of comprehending material things. From the perspective of literary stylistics, Kant was initially judged as a thinker whose writing was dilettante, but was ultimately judged as a thinker who wrote according to the style of his time: winged and ideationally sublime. When he viewed Kant from the perspective of history, Krleža understood him as a thinker who marked the 18th century, while from the perspective of political science he defined him as a supporter of the Jacobins. When presenting his anthropological and pedagogical views, Krleža was very pessimistic about the future of man, since he was convinced that man would not base his upbringing and actions upon Kant’s ideas, including those recorded in his work Toward Perpetual Peace. Finally, when he considered Kant and his teaching from the perspective of medicine, he concluded that Kant’s knowledge of mental illness was closer to Scholasticism than to the Renaissance.

This thesis is, on the one hand, an investigation into Matthew Arnold’s (1822–1888) literary communications and, on the other hand, an attempt to mediate between his writings and a twenty-first century readership. Arnold’s oeuvre is substantial and varied, but this study focuses on his epic poetry, which has remained a neglected part of his body of work despite its significance both to the author himself and to developing an understanding of Arnold’s development as a poet, cultural critic, and iconic ‘Victorian sage’. Furthermore, it is his epic poetry that seems to most fully address the theme of communication, and thus these longer poems function as points of orientation for a broader inquiry into Arnold’s communications. Arnold himself was keenly aware of the complicated status of communicative acts, but these complications have not always been acknowledged by the generations of criticism that have emerged since his death. Critics have thus produced images of Arnold which have not always done justice to the complexity of his communications. Based on an understanding of ‘communicative’ as a position of mediation between writers and readers, this thesis addresses the need for a more balanced communicative framework for mediating between Arnold’s writings in general — and his epic poetry in particular — his critics, and present audiences. Tiivistelmä Tässä väitöskirjassa tarkastellaan Matthew Arnoldin (1822–1888) kirjallista kommunikaatiota, pyrkien välittämään hänen kirjoitustensa merkityksiä 2000-luvun yleisölle. Arnoldin kirjallinen tuotanto on runsas ja monipuolinen, mutta tässä tutkimuksessa keskitytään erityisesti hänen runoepiikkansa tulkintaan. Tämä osa hänen työstään on jäänyt tutkimuksessa verrattain vähäiseen asemaan huolimatta siitä, että Arnoldin kaksi lyhyttä runoeeposta olivat tärkeitä paitsi hänelle itselleen, mutta erityisesti osana hänen kehitystään runoilijana, kulttuurikriitikkona ja ikonisena viktoriaanisen ajan julkisena intellektuellina. Arnoldin runoepiikka vaikuttaa myös tutkivan kommunikaation teemaa laajemmin kuin hänen muut runonsa, ja toimii myös tällä tavoin keskiönä hänen oman kommunikaationsa laajemmalle tarkastelulle. Arnold oli varsin tietoinen kommunikaatiopyrkimystensä haasteista, mutta näitä ongelmia ei ole hänen kuolemansa jälkeen ilmestyneessä kritiikissä aina otettu huomioon. Näin on syntynyt monia Arnold-käsityksiä, jotka eivät välttämättä tee oikeutta hänen kommunikaationsa monivivahteisuudelle. Tämä väitöskirja pyrkii tuottamaan tasapainoisemman kommunikatiivisen lähestymistavan toimiakseen välittäjänä Arnoldin kirjoitusten, eritoten hänen eepostensa, ja nykylukijan välillä.

Studies in Stylistics in the past few decades have branched out to include the most diverse contexts of language production and have drawn on a vast array of methodologies, leading to what has been acknowledged as its interdisciplinary turn. As occurred in other paradigms, the approach shifted from regarding language as a synchronic, static, and homogenous system to a diachronic, social, and dynamic entity. It is this interest in the diachronic dimension that eventually gave rise to studies into Historical Stylistics, or rather, a New Historical Stylistics, and, as a sister discipline, into Historical Pragmatics. Both fields of study have adapted methods and devices developed in Stylistics and Pragmatics to work on texts from the past (literary and otherwise) and on language use and variation in past contexts, in order to understand how meaning is made and supply new materials and evidence to linguists, historical linguists, and language historians. In the wake of such innovations in the approach to stylistic studies, the present issue of Status Quaestionis aims to take a closer and updated look to a select group of texts, literary and non-literary. The diversity of approaches that inform the essays is intended to reflect the varied critical scenario that marks contemporary stylistic studies and the different trends in the approach to reading texts here represented will also bring to light a number of key questions regarding the methods and outcomes of such readings or analysis., Status Quaestionis, No 13 (2017): Stylistics goes Historical. Current Trends and Practices in Historical Stylistics

This paper aims at showing why the stylistician can be construed as a prolific “impostor” in a most positive sense: pledged to no specific linguistic prophet, she can opt for different theoretical linguistic tools (in the sphere of pragmatics, critical discourse analysis, cognitive grammar, etc.) depending on her object of study and what her research question is. The liberty claimed by the stylistician explains why stylistics is the “undisciplined” child of linguistics, shirking any clear definition of its boundaries. It will be argued that stylistics can only exist as a cross-disciplinary field given its conception of language as fundamentally contextualized. If it was a discipline determined by clear-cut pre-established boundaries, stylistics would be far more “disciplined” but would run the risk of serving only itself. The broad goal of this paper is thus to evince that the “indisciplinarity” of stylistics constitutes its very defining essence. With this aim in mind, it will demonstrate what stylistics owes to other disciplines, what it shares with similar language-based disciplines and what it can offer to other fields or practices of knowledge.

Šajā darbā tiek pētīti leksiskie stilistiskie valodas izteiksmes līdzekļi Dž.R.R Tolkīna fantāzijas novelē Kalējs no Lielās Vutonas. Tolkīnam bija unikāls rakstīšanas stils, kurā galveno lomu spēlēja iztēle un alegoriska valoda, jo viņš uzskatīja, ka mītu vai pasakas būtību var pārnest izmantojot tikai šadu valodu. Kalējs no Lielas Vutonas bija Tolkīna pedējais literārais darbs, kurš tika izdots viņa dzīves laikā, un tajā bija daudz alegorieski tēli, kuri pēc pētnieku domām atspoguļoja Tolkīnas dzīvi. Šis pētijums tika veikts, lai noteiktu leksiski stilistisko līdzekļu nozīmi un funkciju izvēlēta fantāzijas novelē. Ar teksta analīzes metodes palīdzību tika noteikti un analizēti leksiski stilistiskie valodas izteiksmes līdzekļi. Petījumu rezultātā tika atklāts, ka šajā fantāzijas novelē galvenais leksiskais stilistiskais līdzeklis ir alegorija, kuras funkcija ir aizpildīt literāro darbu ar slēpto nozīmi un idejām, ka arī sniegt lasītājam mācību. Citi leksiskie stilistiskie valodas izteiksmes līdzekļi, kuri ir bieži izmantoti literarajā darbā ir salīdzinājums, metafora, personifikacija un anafora, kuri atbalsta alegoriskus tēlus šajā fantāzijas novelē un palīdz izveidot maģijas atmosfēru. Pamatojoties uz iegūtajiem rezultātiem, var secināt, ka tika atbildēti pētījuma jautājumi un pētījums sniedza interesantus rezultātus, kurus varētu attīstīt tālāk, detalizētak analizējot fantāzijas noveles stilistiskos valodas izteiksmes līdzekļus, lai atklātu jaunu informāciju, kas saistīta ar šo tēmu, un izveidot fantāzijas noveles Kalējs no Lielas Vutonas pilnīgu stilistisko attēlu., The present bachelor thesis investigates lexical stylistic devices in the fantasy novella Smith of Wootton Major written by J.R.R. He had a unique style of writing, that had a primary focus on the imagination and on the allegorical language, since he thought that no essence of a myth or a fairytale can be transferred without using it. Smith of Wootton Major was Tolkien’s last work to be published in his lifetime and was endowed with allegorical images that, according to the scholars, reflected Tolkien’s life. The research was done to determine the meaning and the function of lexical stylistic devices in Smith of Wootton Major. In order to achieve the aim, the method of qualitative textual analysis was chosen to spot examples of lexical stylistic devices and to analyze them. As the result, it was discovered that the primary stylistic device in the chosen fantasy novella is an allegory, which function is to fill the literary work with hidden meanings and ideas, as well as to teach the reader a lesson. Other frequently used stylistic devices were a simile, a metaphor, and a personification, as well as anaphoric repetitions, which contributed to the allegoric images of the fantasy novella, and helped to create a fairy-like atmosphere. Based on the obtained findings, it can be concluded that the research questions were answered, and this research brought interesting results that should be further developed by a more detailed stylistic analysis to spot new information about the topic and to create a complete stylistic image of the fantasy novella Smith of Wootton Major.

This article offers a preliminary investigation of figurative, metaphorical and linguistic aspects of the garden in Indian English fiction. After providing a short introduction to the symbolism of gardens in the colonial and postcolonial periods, and to the image of the garden in Anglophone Indian literature, the focus will be on the novel The Solitude of Emperors by David Davidar (2007), in order to stress the relevance of both specific phytonyms and common names of plants as important linguistic, cultural and textual indicators employed to construct and convey meanings, often in the form of cognitive metaphors. In this light, the postcolonial garden emerges as a cultural site of hybridity and connection with the past. The examination is undertaken through an interdisciplinary approach that follows and adapts the theories and methods of postcolonial studies, stylistics and narratology (e.g. Kövecses 2002; Jeffries and McIntyre 2010; Sorlin 2014)., Kervan. International Journal of Afro-Asiatic Studies, N. 20 (2016)

Quantifying style, or stylometry, has always been one of the oldest traditions in Western literary studies. It seems, however, that such a well-explored and long-standing scientific methodology has been rarely applied to translations, as opposed to original literary texts. The present paper, which focuses on the stylistic use of phraseology in two contemporary Chinese versions of Cervantes’ Don Quijote, shall endeavour to address the two current problems in corpus-based translation stylistics, i.e., the lack of debate on the question of semantically-rich linguistic units in quantifying style of translations, and the need for testing the use of methods and techniques adapted from corpus statistics in detecting stylistic traits in translations. It is hoped that this study, which aims at expanding the current methodological framework for translation stylistics, will help in the development of this growing area of research in Translation Studies., L’évaluation de style, ou stylométrie, est depuis toujours l’une des traditions les plus anciennes des études littéraires occidentales. Il semble, toutefois, qu’une telle méthodologie scientifique, aussi connue et de longue date soit-elle, n’ait été que rarement appliquée au domaine de la traduction, contrairement à son application aux textes littéraires originaux. Cette étude, qui porte sur l’emploi stylistique de la phraséologie de deux versions contemporaines chinoises de Don Quichotte de Cervantes, se propose d’aborder deux problèmes actuels en matière de stylistique comparée de traduction fondée à partir de corpus, à savoir : l’absence de débat sur la question des unités linguistiques riches sémantiquement dans le cadre de l’évaluation des styles de traduction, ainsi que la nécessité d’expérimenter l’emploi de méthodes et de techniques adaptées à la statistique des corpus et ce, afin de détecter les traits stylistiques en traduction. Il est à espérer que cette étude, qui vise à élargir la structure méthodologique actuelle de la stylistique de traduction, contribuera au développement du domaine de recherche grandissant de la traductologie.

This study examined four different settings in Selma Lagerlof’s novel Jerusalem, part I and II. The aim of the study was to analyse the narrative perspective in the four selected scenes of the novel, and also to investigate whether the narrator’s tone in any of the passages could be said to express orientalism. The material consisted of four text passages describing the novel’s two main geographical locations (the district of Dalarna and the Holy Land). Literary theories used for the study were narratology and postcolonial theory. The applied method to analyse the passages was to use the selection of semantic and syntactic markers compiled by Staffan Hellberg (1985) for stylistic analysis of the narrator’s perspective in Swedish narrative texts. The results of the study show that the overall narrative perspective in the scenes are non-focalized, and that the most frequently featured stylistic markers consist of words and phrases expressing value. A summery of the most frequently used stylistic markers show that it is possible to divide the narrative tone into four categories, as the “presenting”, “sympathizing”, “demonstrating” and “educating” narrator. The results also indicate that orientalism is evident in the two analysed passages from Jerusalem, part II.

This text focuses on the work of a major name in literary stylistics in the XXth Century – Leo Spitzer (1887-1960) – , in order to, by contrasting the opposite commentaries of René Wellek and Jean Starobinski, determine its theoretical and methodological specificity regarding the question of “style” in literature. Este texto enfoca a obra do maior nome da estilística literária no século XX – Leo Spitzer (1887-1960) –, a fim de determinar, contrastando os comentários antagônicos de René Wellek e Jean Starobinski, sua especificidade teórica e metodológica em face da questão do “estilo” em literatura.

The aim of this study is to examine the semantic architecture of the motif complex the four elements, i.e. fire, air, water and earth, in the Swedish poet Gunnar Ekelöf’s poem A Mölna Elegy (1960). The poem belongs to the same polyphonic and quotative-allusive tradition as T. S. Eliot’s The Waste Land and Ezra Pound’s Cantos. The four elements may be regarded both as four separate motifs and as constituting one semantically coherent motif complex. The latter reading has to do with the fact that the phrase the four elements is not itself present in the text. Thus, the thesis includes the assumption that this motif complex, heavily suggested by items in the text but still omitted, might function as a text matrix, from which a number of themes emerge such as life–death and time. The thesis has a theoretical anchoring in ideas about semantic frames (Barsalou) when discussing semantic relations between the different element-related words in the poem, and how these words may be linked to the concepts ‘fire’, ‘air’, water’ and ‘earth’ respectively. Traditional lexical relations such as hyponymy, antonymy and meronymy only catch the more obvious relations such as fire–glow, warm–cold and tree–branch, but are unable to explain pragmatically based relations between words linked to the same conceptual domain, such as sea–jetty, water–sink, fly–air and the like. To some extent, the thesis also draws upon Riffaterre’s theories about a poem’s matrix and how meaning arises in such texts. A major finding of the study is the heavy lexical presence of the four elements in the poem, expressed and suggested by a great number of semantically heterogeneous words. This semantic pattern is analysed in detail with the aid of semantic frame theory. A further discovery is that most of the element words imply dichotomies such as motion–repose, warmth–cold, light–dark or soft–hard. The elements have most of the dichotomies in common, which strongly suggests a union of all the four elements. Such a union is also suggested by several conspicuous compounds never earlier recorded in Swedish, such as glödstänk (‘glowspray’), vindstänk (‘windspray’), eldsus (‘fire sough’) and vågsus (‘wave sough’). The meetings of element are also described at the syntactic level as an explicit amalgamation of all four elements, which suggests a theme not earlier noticed. This theme may tentatively be called the cyclical amalgamation.