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This bibliography is a guide to studies of the languages belonging to three branches of the Congo-Kordofanian stock found in Liberia. Many works done before the end of the nineteenth century have been omitted, along with works that only briefly mention Liberian languages, and publications in these languages on nonlinguistic topics. (DS)

Politička korektnost je za neke pozitivan pojam, dok je za druge taj pojam sinonim za svojevrsna ograničenja i cenzure u stvaralaštvu i drugim sferama života. U ovom radu ću pokušati kroz analizu komedija prikazati koliko su se stvari promijenile i poboljšale za marginalizirane i potlačene društvene skupine, te tako na primjeru Hollywooda pokazati kako se filmska industrija od jednog izrazito politički nekorektnog mjesta, pretvorila u politički korektnu mašineriju, koja ju u jednu ruku ograničava u stvaranju novih materijala dok u drugu pruža šire i ozbiljnije mogućnosti i prilike za one skupine i pojedince koji su do sada bili marginalizirani i čije priče nisu mogle doći do mainstream publike. Također kroz analizu u radu možemo vidjeti kako su se ukusi i kriteriji publike s vremenom promijenili, pa tako ono što se nekada smatralo humorističnim se danas možda osuđuje i kritizira. S obzirom na to da su filmovi odraz duha i kulture vremena, tako kroz ovaj rad možemo vidjeti kako je i svijet tijekom vremena sve više postajao tolerantniji i pažljiviji prema marginaliziranim skupinama, pa tako danas živimo u vremenu kada su priče koje nam oni pričaju izrazito bitne u edukaciji i prosvjećivanju publike. Political correctness, is for some a positive notion, while for others the notion is synonymous with a type of restriction and censorship in creativity and other spheres of life. In this thesis, through the analysis of comedy genre I will try to show how much things have changed and improved for marginalized and oppressed social groups, and thus by the example of Hollywood, express how the film industry has turned from a highly politically incorrect place into a politically correct machinery. For some, it restricts creation of new content while for others it provides wider and more broad possibilities and opportunities, especially for groups and individuals who have been marginalized and whose stories could not reach a mainstream audience. Also, through the analysis in this thesis we can see how the tastes and criteria of audiences have changed over time, so what was once considered humorous today may be condemned and criticized. Given that films are a reflection of the times and culture, through this work we can possibly see how the world has become more tolerant and attentive to marginalized groups, whose stories are essential in educating and enlightening the modern audience.

Politička korektnost je za neke pozitivan pojam, dok je za druge taj pojam sinonim za svojevrsna ograničenja i cenzure u stvaralaštvu i drugim sferama života. U ovom radu ću pokušati kroz analizu komedija prikazati koliko su se stvari promijenile i poboljšale za marginalizirane i potlačene društvene skupine, te tako na primjeru Hollywooda pokazati kako se filmska industrija od jednog izrazito politički nekorektnog mjesta, pretvorila u politički korektnu mašineriju, koja ju u jednu ruku ograničava u stvaranju novih materijala dok u drugu pruža šire i ozbiljnije mogućnosti i prilike za one skupine i pojedince koji su do sada bili marginalizirani i čije priče nisu mogle doći do mainstream publike. Također kroz analizu u radu možemo vidjeti kako su se ukusi i kriteriji publike s vremenom promijenili, pa tako ono što se nekada smatralo humorističnim se danas možda osuđuje i kritizira. S obzirom na to da su filmovi odraz duha i kulture vremena, tako kroz ovaj rad možemo vidjeti kako je i svijet tijekom vremena sve više postajao tolerantniji i pažljiviji prema marginaliziranim skupinama, pa tako danas živimo u vremenu kada su priče koje nam oni pričaju izrazito bitne u edukaciji i prosvjećivanju publike., Political correctness, is for some a positive notion, while for others the notion is synonymous with a type of restriction and censorship in creativity and other spheres of life. In this thesis, through the analysis of comedy genre I will try to show how much things have changed and improved for marginalized and oppressed social groups, and thus by the example of Hollywood, express how the film industry has turned from a highly politically incorrect place into a politically correct machinery. For some, it restricts creation of new content while for others it provides wider and more broad possibilities and opportunities, especially for groups and individuals who have been marginalized and whose stories could not reach a mainstream audience. Also, through the analysis in this thesis we can see how the tastes and criteria of audiences have changed over time, so what was once considered humorous today may be condemned and criticized. Given that films are a reflection of the times and culture, through this work we can possibly see how the world has become more tolerant and attentive to marginalized groups, whose stories are essential in educating and enlightening the modern audience.

Canut, Cécile - Plurilingual dynamics and linguistic imagination in Mali : between adopting and resisting Bambara. In a pluringual context such as Mali's, the complexity of linguistic dynamics, and the diglossic tensions between languages, demand an approach including bom intra- and extra-linguistic factors. As far as linguistic appropriation is concerned, adopting or resisting the dominant language (Bambara) largely depends on the ambivalence of the speakers' linguistic imagination, which shows through in the variations of usage and progressively affects the linguis- tic systems vying for position. The Malinka example (Mandingo area) proves that the choices of code stem from a constant redefinition of the social posi- tions, according to the interlocutors and the speech situation. The effects of these choices in turn influence the delimitation of the codes themselves., Dans un contexte plurilingue comme celui du Mali, la complexité des dynamiques linguistiques et des tensions diglossiques entre les langues nécessite une approche étudiant à la fois les facteurs intra- et extra-linguistiques. En terme d'appropriations linguistiques, l'adhésion ou la résistance à la langue dominante (le bambara) dépend en grande partie de l'ambivalence de l'imaginaire linguistique des locuteurs qui se traduit par des instabilités dans les usages et influent progressivement sur les systèmes linguistiques en présence. L'exemple du malinké (zone mandingue) montre que les choix de code résultent bien d'une redéfinition constante des positions sociales en fonction des interlocuteurs et des situations d'énonciation. Les effets de ces choix agissent enfin sur la délimitation des codes eux-mêmes., Canut Cécile. Dynamique plurilingue et imaginaire linguistique au Mali : entre adhésion et résistance au bambara. In: Langage et société, n°78, 1996. pp. 55-76.

Study of the relevant features in hunters narratives (Mandingo societies).; Etude des propriétés des récits de chasseurs dans la civilisation mandingue.