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Reklame su svuda oko nas, dio su naše svakodnevice. Glavni im je cilj privući potrošača i navesti ih na kupnju proizvoda. Kako bi ostvarile taj cilj, istraživanjem reklama bave se mnoge discipline, a jezik reklama ponajviše istražuju marketinški stručnjaci i lingvisti. Reklame su multimedijalne, što znači da imaju vizualni, zvukovni i jezični aspekt. Upravo ovom kombinacijom pokušava se ostvariti glavni cilj. Ovaj rad bavi se jezičnim aspektom reklama i reklamnih tekstova te daje pregled njihovih jezičnih obilježja koja izdvajaju brojni hrvatski i turski jezikoslovci s primjerima. Cilj ovog rada je na prikupljenoj građi istražiti kojim se jezičnim osobitostima odlikuju reklamni tekstovi i slogani u odabranim turskim i hrvatskim reklamama iz različitih područja. Analizirana je 51 reklama (31 turska i 20 hrvatskih) u kojoj su uočena razna jezična obilježja. Analiza pokazuje da se u reklamama, i turskim i hrvatskim, koriste ista jezična sredstva (gramatička i stilska). Od gramatičkih to su: upotreba atributa, ponavljanje, upotreba osobnih zamjenica drugog lica jednine i množine, prezenta i imperativa, a od stilskih: hiperbola, metafora i personifikacija, modifikacije i frazemski izrazi, internacionalizmi, i dr. Advertisements and commercials are all around us, they are a part of our everyday life. Their main goal is to attract the consumers and make them buy the product. In order to achieve this goal, there are many disciplines that deal with advertising research, and the language used in advertising is mostly researched by marketing experts and linguists. Commercials are multimedial, which means they have a visual, an audio and a linguistic aspect. Their main goal is achieved by using this combination. This thesis deals with the linguistic aspect of commercials and advertising texts and provides an overview of their linguistic features, singled out by numerous Croatian and Turkish linguists, using examples. The aim of this paper is to, within the collected material, investigate the linguistic peculiarities of advertising texts and slogans in the selected Turkish and Croatian advertisements and commercials, from different areas. A total of 51 commercials and advertisements were analysed (31 Turkish and 20 Croatian), in which various linguistic features were observed. The analysis shows that, in both Turkish and Croatian commercials, the same linguistic means (grammatical and stylistic) are used. The grammatical ones are: use of attributes, repetition, use of personal pronouns for 2nd person singular and plural, present tense and imperative; and the stylistic ones: hyperbole, metaphor and personification, modifications and phrasal expressions, internationalisms, etc.

Cilj diplomskoga rada naslovljenog Stil i naracija priča i izvješća iz Vukovara Siniše Glavaševića bio je analizirati stil i narativ radijskih izvješća novinara Siniše Glavaševića čitanih u eteru Hrvatskog radija Vukovar tijekom bitke za Vukovar 1991. godine. Radijska izvješća sabrana su u knjizi Priče iz Vukovara, a rad se temelji na izdanju Matice Hrvatske iz 2019. godine. Obavljajući svoj novinarski i urednički posao čija je glavna zadaća, uz informiranje slušatelja, bila doprijeti do odgovornih za stradanja civila i prepuštenost Vukovara i Vukovaraca samima sebi. Snažan afektivni naboj, izrazito ekspresivno izvještavanje upotpunjeno ekspresivnim jezičnim sredstvima (stilske figure) uz snažnu težnju za objektivnošću i izazivanjem reakcije adresata glavna su obilježja svih izvješća Siniše Glavaševića. Ideološko uporište čitave zbirke radijskih izvješća utemeljeno je na antitezi, polarizaciji „mi“ naspram „njih“ gdje autor uspostavlja vrlo snažnu dihotomiju između žrtve i agresora, zla i dobra, potlačenoga i tlačitelja. Emotivna komponenta u nekoj mjeri zasigurno dokida prostor potpunoj objektivnosti u izvještavanju, no načela novinarske etike ostaju zadovoljena. Suprotno tomu, Glavašević kao svjedok istine i njezin snažni zagovaratelj pravila ratnoga novinarstva ostavio je po strani. Štoviše, pitanje je li ih, u takvim vremenima na koja nitko ne može biti spreman, uopće imao na umu. No, i bez detaljne analize, nije nemoguće shvatiti da neljudski uvjeti rada, nestručni kadar i srčana želja za pomoći vlastitom gradu nisu ostavili puno prostora brizi o vlastitoj sigurnosti i bilo kakvim propisanim novinarskim načelima. Neupitna ostaje književnoumjetnička i povijesna vrijednost svakog od izvješća koje ostaje opipljivim svjedočanstvom Domovinskoga rata i žrtve Vukovaraca., The main goal of this thesis titled “Stil i naracija priča i izvješća iz Vukovara Siniše Glavaševića” was to analyse the style and narration of radio reports made by journalist Siniša Glavašević on “Hrvatski radio” during the battle of Vukovar in year 1991. Radio reports are collected and published in the book “Priče iz Vukovara”. Thesis is based on edition made by “Matica Hrvatska” published in 2019. While carrying out his journalists and editors work, whose main task, along with informing his listeners, was to reach out to those responsible for the suffering of innocent civilians and the abandonment of Vukovar and the people of Vukovar, he graced his reports with elements of literacy and artistic style. Strong and affective charge, highly expressive reporting complemented by expressive linguistic means (style figures) with strong desire for objectivity and for provoking those addressed are the main features in all of the Siniša Glavašević’s reports. The ideological base of the entire radio reports collection is based on the antithesis, the polarization of “us” against “them” where the author establishes a very strong dichotomy between the victim and the aggressor, evil and good, oppressed and the oppressor. The emotional component certainly limits complete objectivity to some extent, but the basic principles of journalistic ethics remained satisfied. On the contrary, Glavašević, as a witness of the truth and its strong advocate, left the rules of war journalism aside. Moreover, the real question is if he, in times for which no one can really be prepared, even had them in mind. However, even without a detailed analysis, it’s not imbossible to understand that the inhumane working conditions, the unprofessional staff and the heartful desire to help one’s own city did not leave much room for concern about one’s own safety or any prescribed journalistic principles. The literary, artistic and historical value of each and single report remains unquestionable as those reports are a tangible testimony of the Homeland war, the sacrifices of the people of Vukovar and the victims themselves.

The article deals with linguistic stylistic and linguistic didactic features of Olha Maksymchuk’s stories for children. These artistic texts are characterized by lexical diversity and richness of expression forms, an omnicon with a transparent motivation, an elegant and at the same time simple syntax, an emphasis on the author’s combination of figurative expressions and tropes, among which epithets and similes occupy a special place. Separately, we will note the educational potential of the works. The writer remembers her reader and will observe moderation in everything. Her language is bright, colorful, and impressive with the wealth of forms and means used. The vocabulary is easy and clear, the text is close to a real speech situation: there are colloquial words, dialecticisms, phraseology, barbarisms, onomatopoeic words. Considering the children’s audience, it is not abundantly filled with tropes and stylistic figures, but the artistry is created by the skill of their selection and combination. The author likes to string them together, easily and successfully combine them, subjecting them to certain transformations. Linguistic descriptions of people, nature, phenomena are characteristic of the writer. We will especially note the creation of “color” sketches. Color names are the units that form the plot and create the text. Creating special shades of color with words is a linguistic feature of the work. The use of rarely used verbs, the active use of adverbial units, the accumulation of exclamatory and interrogative sentences are also characteristic of the writer’s language. The defining features of the plot of the work are the combination of world trends with national traditions., У статті йдеться про лінгвостилістичні та лінгводидактичні особливості повістей Ольги Максимчук для дітей. Для цих художніх текстів характерне лексичне різноманіття й багатство форм вираження думки, омініконом з прозорою мотивацією, вишуканий і водночас простий синтаксис, акцент на авторському поєднанні образних висловів та тропів, серед яких особливе місце посідають епітети і порівняння. Окремо відзначимо виховний потенціал творів.

Humor je fenomen koji ima višestruke definicije i mnoge učinke u društvu. Humor u novinarstvu nije česta pojava, ali isto se ne može reći za novinarski izraz splitskog novinara Milorada Bibića Mosora, koji je prepun duhovitog sadržaja. Njegovo se novinarstvo baziralo na komentarima te intervjuima koji su obilovali vulgarizmima, vicevima, dosjetkama te ponekoj anegdoti. Bibićev se humor može poistovjetiti s lokalnim humorom koji u kombinaciji s gradskim govorom, čini srž njegove humorističnosti. Korištenje stilskih figura ponavljanja, misli, konstrukcija, riječi te ironijom, Bibićev izraz čini još osebujnijim i zanimljivijim. Humor is a phenomenon that has multiple definitions and many effects in society. Humor in journalism is not a common occurrence, but the same cannot be said for the journalistic expression of Split journalist Milorad Bibić Mosor, which is full of witty content. His journalism was based on comments and interviews that were full of vulgarisms, jokes, quips and the occasional anecdote. Bibić's humor can be identified with local humor, which, combined with town talk, forms the core of his humor. The use of stylistic figures of repetition, thoughts, constructions, words and irony makes Bibić's expression even more distinctive and interesting.

Humor je fenomen koji ima višestruke definicije i mnoge učinke u društvu. Humor u novinarstvu nije česta pojava, ali isto se ne može reći za novinarski izraz splitskog novinara Milorada Bibića Mosora, koji je prepun duhovitog sadržaja. Njegovo se novinarstvo baziralo na komentarima te intervjuima koji su obilovali vulgarizmima, vicevima, dosjetkama te ponekoj anegdoti. Bibićev se humor može poistovjetiti s lokalnim humorom koji u kombinaciji s gradskim govorom, čini srž njegove humorističnosti. Korištenje stilskih figura ponavljanja, misli, konstrukcija, riječi te ironijom, Bibićev izraz čini još osebujnijim i zanimljivijim., Humor is a phenomenon that has multiple definitions and many effects in society. Humor in journalism is not a common occurrence, but the same cannot be said for the journalistic expression of Split journalist Milorad Bibić Mosor, which is full of witty content. His journalism was based on comments and interviews that were full of vulgarisms, jokes, quips and the occasional anecdote. Bibić's humor can be identified with local humor, which, combined with town talk, forms the core of his humor. The use of stylistic figures of repetition, thoughts, constructions, words and irony makes Bibić's expression even more distinctive and interesting.

Cilj ovog rada je analiza polemičkog diskursa Zorana Milanovića u mandatu predsjednika Republike Hrvatske. Analiza je provedena zbog povratka Zorana Milanovića na političku scenu te njegovog polemiziranja s brojnim sudionicima javne sfere što se nije moglo vidjeti u tolikoj mjeri u prethodnim mandatima bivših predsjednika. Za istraživanje je korištena kvalitativna stilska i sadržajna diskursna analiza koja je provedena na temelju predsjednikovih izjava koje se mogu pronaći na većini hrvatskih portala te na društvenoj mreži Facebook, koju Milanović učestalo koristi. S pomoću analize može se vidjeti kako predsjednik Republike Hrvatske često koristi stilske figure koje su prožete ironijom i disfemizmima. S pomoću polemike i brojnih stilskih figura Milanović pokušava suprotstaviti se svojim protivnicima i tako stvoriti dosljedan polemički diskurs koji ga prati kroz cijeli mandat kao predsjednika Republike Hrvatske., The aim of this paper is to analyze the polemical discourse of Zoran Milanović in the mandate of the President of the Republic of Croatia. The analysis was conducted due to the return of Zoran Milanović to the political scene and his polemics with numerous participants in the public sphere, which could not be seen to such an extent in the previous terms of the former presidents. The research used qualitative stylistic and content discourse analysis, which was conducted on the basis of the president's statements that can be found on most Croatian portals and on the social network Facebook, which Milanović often uses. With the help of the analysis, it can be seen that the President of the Republic of Croatia often uses stylistic figures that are imbued with irony and dysphemism. With the help of polemics and numerous stylistic figures, Milanović tries to oppose his opponents and thus create a consistent polemical discourse that accompanies him throughout his term as President of the Republic of Croatia.

Ishodišna teza ovog diplomskog rada tvrdnja je Zvonimira Mrkonjića kako je poezija Anke Žagar rezultat njezinog dosljednog rada na poetskoj nejasnoći. Cilj je rada koncept poetske nejasnoće objasniti kao stilsko uporište Žagaričine poetike koje osigurava da se njezini tekstovi opiru interpretativnom iscrpljenju i ostaju otvoreni novim i drugačijim čitanjima. Rad stoga počinje teorijskom razradom pojma poetske nejasnoće i njegove internacionalne inačice, poetske opskurnosti. Opskurni su tekstovi definirani kao poetsko utjelovljenje umjetničkih dilema modernih i postmodernih pjesnika: njihova propitivanja tradicionalnog odnosa označenog i označitelja te promišljanja poezije kao komunikacijskog sustava uopće. Kolebljive su semantike i traže aktivni angažman čitatelja. Kazuje ih iluzivni lirski subjekt koji zazire od stabilnih identiteta, a koji jezičnu građu tretira kao dinamičnu supstancu blisku energiji. Navedene karakteristike poetske nejasnoće u ovom su radu pronađene u Žagaričinim zbirkama Išla i... sve zaboravila i Zemunice u snu. Rad donosi interpretacije pjesama Šuma i Pohod, Učila govoriti i Između. Pri analizi pjesama Šuma i Pohod ističu se pjesnikinjine metapoetske preokupacije i opisuje kompleksan karakter njezinog lirskog subjekta te učinci koje on ima na njegov govor. Pri analizi pjesme Učila govoriti opisuju se Anki Žagar omiljeni mitologemi i montažna izgradnja njihove kolebljive semantike. Interpretacijom pjesme Između opisuje se Žagaričina jezična igra, u kojoj se očituje metafizičnost njezinog promišljanja o jezičnoj materiji. The starting point of this master's thesis is an assertion by Zvonimir Mrkonjić that Anka Žagar's poetry is a result of her consistent work on poetic obscurity. This paper therefore attempts to consider the concept of poetic obscurity as the stylistic stronghold of Žagar's poetry as well as prove that obscurity ensures that Žagar’s texts resist interpretive exhaustion and remain open to new readings and different interpretations. The paper begins with a theoretical elaboration of the concept of poetic obscurity. In this paper, poetic obscurity is defined as a stylistic stronghold of modern and postmodern poets who question the traditional relationship between signifier and signified as well as poetry as a form of communication. The texts they create are semantically ambiguous and demand an active and engaged reading. They are spoken by an illusive poetic voice that fears stable identities and considers language as a substance that resembles energy. The aforementioned features of poetic obscurity are explored through a reading of two volumes of poetry by Anka Žagar, Išla i... sve zaboravila and Zemunice u snu. This paper contains interpretations of the poems Šuma, Pohod, Učila govoriti and Između. Interpretations of poems Šuma and Pohod attempt to prove the author's preference for metapoetic themes and describe the complex character of Žagar’s poetic voice and her poem’s language. The analysis of poem Učila govoriti, which features many of Žagar’s favourite motifs, attempts to demonstrate the montage creation of the motif’s obscure meaning. The interpretation of the poem Između attempts to describe the metaphysical impulse evident in Žagar's wordplay.

В данной статье на основе литературоведческого анализа сборников стихотворений «Непоэмание» (2008), «Фотосинтез» (2008), «Осточерчение» (2013) обнаруживаются тропы, стилистические фигуры, лексические и другие художественные особенности, характерные для диалогической лирики современной поэтессы Веры Полозковой. Особенностью художественного диалога является использование автором различных средств художественной речи для реализации идеи произведения. Лирические диалоги не исключение: применение разнообразных лексических и стилистических элементов художественной речи помогает читателю более полно понять смысл произведения, проанализировать образ лирического героя, а также служит для создания индивидуального стиля автора. В статье отмечается художественное своеобразие и богатство диалогической поэзии В. Полозковой, определяются функции диалогов лирики поэтессы, которые помогают отразить чувства, настроение и эмоции ее лирической героини, а также раскрыть художественную идею текста. Представленный в результате исследования, проведенного с опорой на биографический, культурно-исторический, сравнительно-исторический методы, а также системно-целостный анализ художественного текста материал позволяет сделать вывод, что в творчестве В. Полозковой можно отметить некоторые повторяющиеся тенденции в стилистике художественной речи, использовании тропов, синтаксических фигур и лексики в текстах стихотворений, создающие особый, узнаваемый идиостиль автора., In this article, based on a literary analysis of the collections of poems “Nepoemaniye” (2008), “Photosynthesis” (2008), “Estochization” (2013), tropes, stylistic figures, lexical and other artistic features are found that are characteristic of the dialogic lyricsof the modern poetess Vera Polozkova. A feature of the artistic dialogue is the use by the author of various means of artistic speech to realize the idea of the work. Lyrical dialogues are no exception: the use of various lexical and stylistic elements of artistic speech helps the reader to more fully understand the meaning of the work, analyze the image of the lyrical hero, and also serves to create the author’s individual style. This article notes the artistic originality and richness of Vera Polozkova’s dialogic poetry, defines functions of the dialogues of the poetess’s lyrics, which help to reflect the feelings, mood and emotions of her lyrical heroine, as well as reveal the artistic idea of the text. The material presented as a result of a study based on biographical, cultural-historical, comparative-historical methods, as well as a systematic and holistic analysis of a literary text, allows us to conclude that in the work of Polozkova, some recurring trends in the style of artistic speech, the use of tropes, syntactic figures and vocabulary in the texts of poems, creating a special, recognizable idiostyle of the author.

The article is devoted to the current and debatable issue of the affiliation of the poets- "Parisians" of the first wave of Russian emigration to the "Parisian note". In view of the many points of view of researchers on the question of the involvement of certain poets in this literary phenomenon on the basis of the similarity or convergence of their creative manner with the poetics of the "Parisian note", as well as in view of the special role of some figurative and expressive linguistic means, in their complex noted by literary critics and critics as one of the fundamental poetological principles or constants The article is aimed at identifying the general patterns of the use of stylistic figures in the collections of P. Stavrov "Without Consequences" and A. Steiger's "This Life" using the statistical method and the method of comparative analysis. This method is proposed by the authors of the article as a "starting point" in solving the problem outlined above, since as a result of its use, general and particular features of the use of stylistic figures by poets are revealed, correlating with the features and techniques of the representatives of the "note". In addition to highlighting the most commonly used stylistic figures, the article for the first time offers an attempt to analyze them, on the basis of which the functional significance of using a particular stylistic figure is clarified, as well as the techniques and characteristic features of the poetry of the "Parisian note" are clarified. The study concluded that the use of stylistic figures by P. Stavrov in the collection "Without Consequences" is characteristic, typical of the poetics of the "Parisian note". The main provisions and conclusions of the article can be used for further research of the creativity of the poets of the "Parisian note"., Статья посвящена актуальному и дискуссионному в настоящее время вопросу о принадлежности поэтов-«парижан» первой волны русской эмиграции к «парижской ноте». Ввиду множества точек зрения исследователей на вопрос о причастности тех или иных поэтов к данному литературному явлению на основе сходства или сближения их творческой манеры с поэтикой «парижской ноты», а также ввиду особой роли некоторых изобразительно-выразительных языковых средств, в своем комплексе отмечаемых литературоведами и критиками в качестве одного из основополагающих поэтологических принципов или констант творчества «парижской ноты», статья направлена на выявление общих закономерностей использования стилистических фигур в сборниках П. Ставрова «Без последствий» и А. Штейгера «Эта жизнь» при помощи статистического метода и метода сравнительного анализа. Данный способ предлагается авторами статьи в качестве «отправной точки» в решении обозначенной выше проблемы, так как в результате его использования обнаруживаются общие и частные особенности применения поэтами стилистических фигур, соотносящиеся с чертами и приемами представителей «ноты». Помимо выделения наиболее употребительных стилистических фигур, в статье впервые предлагается попытка их анализа, на основе которого уточняется функциональная значимость использования той или иной стилистической фигуры, а также уточняются приемы и характерные особенности поэзии «парижской ноты». В ходе исследования сделан вывод о том, что использование стилистических фигур П. Ставровым в сборнике «Без последствий» свойственно, типично для поэтики «парижской ноты». Основные положения и выводы статьи могут быть использованы для дальнейших исследований творчества поэтов «парижской ноты»., Вестник гуманитарного образования, Выпуск 3 (27) 2022, Pages 109-116

The article deals with the linguistic-stylistic and linguodidactic features of Halyna Vdovychenko’s works for children. These texts meet all modern requirements for children’s literature: they are relevant for children, written in living language, promote socialization, carry cognitive, developmental, informative charge, and most importantly – meet such criteria as art, which involves actualization of the reader’s emotional sphere, interpretation of the work as a phenomena of art with aesthetic and spiritual value, encrypted in the structural-compositional and linguistic-stylistic organization of the work. The writer’s literary texts are characterized by lexical richness and variety of forms of expression, original word formation, accentuation of stylistically marked units with reduced- affectionate suffixes, onimicon with transparent motivation, refined syntax, tropes and stylistic figures that can be individually modified by the author. The language design of the works is easy and clear, but impressive. These are epithets, comparisons, barbarisms, tautologies, paraphrases, pleonasms, paronomasia, figurative transferences of different types. Verbalized transferences are sometimes complicated by other paths, for example, personification is enhanced by comparisons; accumulation of several stylistic figures and tropes in one context (gradation, amplification, antitheses), which contributes to the logical and intonational expression of the text, the creation of individual-authorial, unique, figurative discourse. The syntactic structure of the work corresponds to the children’s audience. These are mostly simple, non-multicomponent sentences. In addition to entertaining, aesthetic, cognitive aspects, H. Vdovychenko’s works of art are also endowed with educational and social. They address in an accessible form the problems faced by modern society., У статті йдеться про лінгвостилістичні та лінгводидактичні особливості творів Галини Вдовиченко для дітей. Для цих художніх текстів характерні лексичне багатство й різноманітність форм вираження думки, оригінальний словотвір, акцентування стилістично маркованих одиниць із зменшено-пестливими суфіксами, онімікон з прозорою мотивацією, вишуканий синтаксис, тропи та стилістичні фігури, що піддаються індивідуально-авторським модифікаціям. Художні тексти також у доступній формі ословлюють проблеми, з якими стикається сучасне суспільство.

Stilistika je definirana kao humanistička i heuristička znanost kojoj je predmet proučavanja stil, s naglaskom kako pod pojmom stila smatramo individualnu uporabu jezika nekog pojedinca, a u ovom slučaju samog pjesnika. U radu se spominju i pravci u stilistici koji nam daju na uvid širok spektar samog područja stilistike, a poglavlje o stilematskim razinama pojašnjava nam razne individualne karakteristike pjesnika koje možemo zateći prilikom analiziranja proznih tekstova i poezije. O stilistici poezije su govorili Božanić, Solar i Culler, a Bagić je prikazao razliku između proze i poezije, te ističe kako se razlikuju po samom jeziku. Karakteristike jezika poezije mogu se uočiti u ovom radu gdje su kroz analize istaknute sve upotrijebljene figure, oblici glagola, arhaizmi, rime i slično, a sadržaj samih pjesama uvest će u individualan stil Tina Ujevića., Stylistics is defined as a humanistic and heuristic science whose subject of study is style, emphasizing that by the term style we mean the individual use of the language of an individual, and in this case the poet himself. The paper also mentions the directions in stylistics that give us an insight into a wide range of areas of stylistics, and the chapter on stylistic levels explains various individual characteristics of poets that we can find when analyzing prose texts and poetry. Božanic, Solar and Culler spoke about the stylistics of poetry, and Bagic showed the difference between prose and poetry, and points out how they differ in the language itself. The characteristics of the language of poetry can be seen in this paper, where all used figures, verb forms, archaisms, rhymes, etc. are highlighted through analyzes, the content of the poems themselves will be introduced into the individual style of Tin Ujevic.

Online portali jedan su od najpristupačnijih medija zahvaljujući kojima brojni čitatelji na jednostavan način ubijaju i provode vrijeme čitajući sadržaje koji se tamo nude. Ženski portali kao što je Zadovoljna.hr nešto su laganijeg sadržaja, a nude širok spektar tema, od recepata, pa sve do savjeta kako učinkovito i na prirodan način izliječiti razne bolesti. Analizom naslova koji se nalaze na takvim portalima, a posebice u rubrici koja je bazirana oko zdravlja i prehrane, jasno je kako od ukupno pet funkcionalnih stilova u hrvatskom standardnom jeziku, prevladava onaj novinarsko-publicistički u kojem se autor može koristiti raznim sredstvima ne bi li naslove učinio privlačnijima i dinamičnijima. Najviše naslova ukrašeno je metaforama, metonimijama, onomatopejama, epitetima, hiperbolama i poredbama,a upravo prepoznavanje figura i njihovih obilježja može pomoći u razumijevanju njihovih uloga u naslovima, ali i u shvaćanju uloge žena koja se nameće kroz takve tipove sadržaja i naslova. Online portals are one of the most accessible media thanks to which many readers easily kill and spend time reading the content offered there. Women's portals such as Zadovoljna.hr have a slightly lighter content, and offer a wide range of topics, from recipes to advice on how to effectively and naturally cure various diseases. An analysis of the titles on such portals, and especially in the section based on health and nutrition, it is clear that out of a total of five functional styles in the Croatian standard language, the journalistic one prevails in which the author can use various means to made the titles more appealing and dynamic. Most titles are decorated with metaphors, metonymies, onomatopoeias, epithets, hyperboles and comparisons, and recognizing figures and their features can help in understanding their roles in titles, but also in understanding the role of women imposed through such types of content and titles.

Online portali jedan su od najpristupačnijih medija zahvaljujući kojima brojni čitatelji na jednostavan način ubijaju i provode vrijeme čitajući sadržaje koji se tamo nude. Ženski portali kao što je Zadovoljna.hr nešto su laganijeg sadržaja, a nude širok spektar tema, od recepata, pa sve do savjeta kako učinkovito i na prirodan način izliječiti razne bolesti. Analizom naslova koji se nalaze na takvim portalima, a posebice u rubrici koja je bazirana oko zdravlja i prehrane, jasno je kako od ukupno pet funkcionalnih stilova u hrvatskom standardnom jeziku, prevladava onaj novinarsko-publicistički u kojem se autor može koristiti raznim sredstvima ne bi li naslove učinio privlačnijima i dinamičnijima. Najviše naslova ukrašeno je metaforama, metonimijama, onomatopejama, epitetima, hiperbolama i poredbama,a upravo prepoznavanje figura i njihovih obilježja može pomoći u razumijevanju njihovih uloga u naslovima, ali i u shvaćanju uloge žena koja se nameće kroz takve tipove sadržaja i naslova., Online portals are one of the most accessible media thanks to which many readers easily kill and spend time reading the content offered there. Women's portals such as Zadovoljna.hr have a slightly lighter content, and offer a wide range of topics, from recipes to advice on how to effectively and naturally cure various diseases. An analysis of the titles on such portals, and especially in the section based on health and nutrition, it is clear that out of a total of five functional styles in the Croatian standard language, the journalistic one prevails in which the author can use various means to made the titles more appealing and dynamic. Most titles are decorated with metaphors, metonymies, onomatopoeias, epithets, hyperboles and comparisons, and recognizing figures and their features can help in understanding their roles in titles, but also in understanding the role of women imposed through such types of content and titles.

Zvonimir Balog ostavio je neizbrisiv trag u hrvatskoj dječjoj književnosti, ali je prepoznat i kao autor zbirki pjesama za odrasle. Igra riječima i nonsens osnovno su polazište Balogove poezije. Cilj ovoga rada jest opisati obilježja pjesničkog stila Zvonimira Baloga te kako ona utječu na percepciju primatelja afektivne poruke. Za potrebe analize snimljene su tri govorne izvedbe Balogove pjesme "Pauk" iz zbirke pjesama "Preporučena ptica" i u svakoj izvedbi analizirala se uporaba prozodijskih sredstava: ritma, tempa, stanki te intonacijskih obrazaca. Tako se provela osnovna akustička analiza te analiza percepcije na uzorku od trideset i sedam studenata diplomskog studija fonetike Filozofskog fakulteta u Zagrebu koji su nakon slušanja riješili upitnik. Upitnik se sastojao od procjene šest kategorija svake izvedbe (glas, izražajnost, razgovijetnost, standardnost, primjerenost govornog tempa i ukupni dojam) koje su ispitanici ocjenjivali ocjenama od 1 do 5. Izvedba 1 ocijenjena je najvišim ocjenama u svih šest kategorija te je dokazano da su visina tona, boja glasa i standardnost govora najviše utjecali na formiranje ocjene ukupnog dojma. S morfostilističke i semantičke strane, pjesma obiluje Balogovim neologizmima, tzv. 'balogizmima' te stilskim figurama poput etimološke figure, paregmenona, paronomazije itd., a od vrsta riječi dominiraju imenice koje zamjenjuju glagolske radnje. Sa sintaktostilističke strane pjesmi u potpunosti nedostaje interpunkcija pa se zaključuje da grafički oblik pjesme uvjetuje njezinu zvukovnu i govornu organizaciju. Balog je književnik poznat po jezičnim akrobacijama koje dolaze do izražaja baš u zbirci Preporučena ptica u kojoj se nalazi i pjesma "Pauk". Zvonimir Balog left a lasting impression on croatian children's literature but he is also known as an author of collections of poems for adults. Puns and nonsense are the fundaments of Balog's poetry. The main goal of this master's thesis is to describe the charasteristics of the poetic style of Zvonimir Balog and how they affect the perception of the recipient of the affective message. For the purposes of the analysis, three speech performances were recorded of a Balog's poem 'Pauk' from the collection of poems 'Preporučena ptica' and in each performance the use of prosodic features: rhythm, tempo, pauses and intonation was analyzed. The basic acoustic and perceptual analysis were thus performed on a sample of thirty-seven students of graduate study of phonetics on Faculty of Humanities and Social Sciences in Zagreb who solved the questionnaire after listening to the performances. The questionnaire consisted of an assessment of the six categories of each performance (vocal, expressiveness, clarity, standardization, adequacy of speech tempo and entirely impression) which the examinees rated with grades from 1 to 5. Performance 1 was rated the highest in all six categories and it was proven that pitch, tone of voice and standard speech were the most influential in forming the overall impression rating. From the morphostylistic and semantic side, the poem is abundant with Balog's neologisms, the so-called 'balogisms,' and stylistic figures such as etymological figures, paregmenon, paronomasia, etc. and the types of words are dominated by nouns that replace verb actions. From the syntactostylistic side of the poem, there is a complete lack of punctuation, so it can be concluded that the graphic form of the poem caused its sound and speech organization. Balog is a writer known for his playing with words which are especially shown in the collection of poems 'Preporučena ptica' and in his poem 'Pauk'.

Priče iz davnina među prvim su stvaralačkim djelima Ivane Brlić-Mažuranić. Zanimljiva je činjenica o samoj autorici da je završila samo dva razreda osnovnoškolskog obrazovanja, ali je uz obiteljsku naobrazbu postala vrsna spisateljica, što Mažuranić (1985) i sama navodi u svojoj biografiji. U načinu samoga pisanja teksta u pričama, autor rada smatra da su Ivani Brlić-Mažuranić doista pomogla stilska sredstva. Hranjec (2006) navodi da je doživljavanje i spoznaja čarolije riječi uvelike pomogla u zainteresiranosti čitatelja. “Posebna je vrijednost izražajni jezični sloj njezina djela. Odrasla u kući s uzornom jezičnom kulturom i književničkim vrijednostima, djelujući u razdoblju standardiziranja hrvatskoga jezika, Ivana je ostvarila hrvatskojezičnu sintezu, izraslu na pučkoj novoštokavštini.” (Hranjec, 2004: 50) . Njegovani jezik u djelima Ivane Brlić-Mažuranić i jezična lapidarnost, bravurozno inoviranje jezične baštine paradoksalnim konstrukcijama te slikovitost i maštu koje gotovo da nemaju premca u njezinu naraštaju Pintarić (2005) izdaje kao trajnu aktivu tih djela. Poznavanje stilskih izražajnih sredstava temelj je interpretacije književnih ostvarenja. Figure su se kroz povijest razvrstavale na različite načine, a razlikovalo se i njihovo poimanje kao i sam broj. Solar (1977: 61-69) figure definira kao utvrđene načine izražavanja koji se mogu izdvojiti i posebno označiti zahvaljujući svom odstupanju od uobičajenog načina govora. Solar (1977: 61-69) klasificira figure u četiri kategorije: figure dikcije, riječi, konstrukcije i misli. Figure dikcije ili glasovne figure zasnivaju se na učinku određenih glasova u govoru. Figure riječi prema starim retoričarima figure su u užem smislu, a ujedno su i najpoznatije figure koje nastaju promjenom značenja riječi. Figure konstrukcije ili oblika one su figure koje nastaju osobitim rasporedom riječi. To su figure rasporeda, poretka riječi i sintaktičke figure. U figure riječi ubrajaju se one figure u kojima se neposredno mijenja značenje riječi, a u figure misli ubrajaju se figure koje se odnose na širi smisao od onoga što je rečeno. Croatian Tales of Long Ago is among the first published works that were written by Ivana Brlić-Mažuranić and it is also considered to be her masterpiece. What is fascinating about Ivana Brlić-Mažuranić is that she only completed the first two grads of primary school but with the education provided to her by her family she became an excellent writer, which she states in her biography (Mažuranić, 1985). It is the opinion of the author of this thesis that what helped Ivana Brlić-Mažuranić with writing her stories was the usage of stylistic means. Hranjec (2006) states that experiencing and acknowledging the magic of words helps greatly in capturing the interest of readers. “There is a special value to the expressive linguistically layer to the works of Ivana Brlić-Mažuranić. As she grew up in a house with admirable linguistic culture and literary values she adapted the Croatian language synthesis, which was based on the Neo-Stokavian dialect” (Hranjec, 2004: 50). The nurtured language in the works of Ivana Ivana Brlić-Mažuranić, the linguistical simplicity, skilful integration of linguistic heritage with paradoxical constructions, picturesqueness and imagination that was unmatched in her generation is what makes her works everlasting (Pintarić, 2005). The knowledge of stylistic means of expression is the basis for the interpretation of literary works. Figures have been classified in different ways throughout history as well as their understanding and numbering. Solar (1977: 61-69) defines figures as established ways of expression that can be singled out and specially marked due to their deviation from the usual way of speaking. Solar (1977: 61-69) classifies figures into four categories: figures of diction, words, constructions, and thoughts. Diction figures or voice figures are based on the effect of certain voices in speech. Word figures according to old rhetoricians are figures in the narrower sense, and at the same time they are the most famous figures that are created by changing the meaning of words. Figures of construction or shape are those figures that are created by a special arrangement of words. Word figures include those figures in which the meaning of the word is directly changed, and thought figures include figures that refer to a broader meaning than what has been said.

U hrvatskom jeziku postoji pet funkcionalnih stilova od kojih je novinarsko-publicistički najsloženiji te služi novinarima za pisanje pri čemu ga, kako bi potaknuli korisnika da klikne na određeni naslov, dodatno stiliziraju. Koriste stilske figure ne bi li naslovi bili atraktivniji pri čemu ih ponekad pretvaraju u clickbait – naslov obećava mnogo, no sadržaj razočarava. Analizom sadržaja i kvalitativnom analizom provedenom na naslovima portala 24sata.hr uočena su tri tipa naslova te brojni citati čiji su izvori pretežno važne državne osobe ili državna tijela. Nadalje, analizom je uočeno 13 stilskih figura korištenih u naslovima koje se grupiraju u tri skupine: figure konstrukcije (sintaktičke figure), figure riječi (tropi) i figure misli. There are five functional styles in the Croatian language, of which journalistic is the most complex, and it serves journalists for writing, whereby, in order to encourage the user to click on a certain title, they additionally stylize it. They use stylistic figures to make the titles more attractive, sometimes turning them into clickbait – the title promises a lot, but the content disappoints. Content analysis and qualitative analysis conducted on the headlines of the 24sata.hr portal revealed three types of titles and numerous citations whose sources are the most important state persons or state bodies. Furthermore, the analysis identified 13 stylistic figures used in the titles that are grouped into three groups: construction figures (syntactic figures), word figures (tropics), and thought figures.

U hrvatskom jeziku postoji pet funkcionalnih stilova od kojih je novinarsko-publicistički najsloženiji te služi novinarima za pisanje pri čemu ga, kako bi potaknuli korisnika da klikne na određeni naslov, dodatno stiliziraju. Koriste stilske figure ne bi li naslovi bili atraktivniji pri čemu ih ponekad pretvaraju u clickbait – naslov obećava mnogo, no sadržaj razočarava. Analizom sadržaja i kvalitativnom analizom provedenom na naslovima portala 24sata.hr uočena su tri tipa naslova te brojni citati čiji su izvori pretežno važne državne osobe ili državna tijela. Nadalje, analizom je uočeno 13 stilskih figura korištenih u naslovima koje se grupiraju u tri skupine: figure konstrukcije (sintaktičke figure), figure riječi (tropi) i figure misli., There are five functional styles in the Croatian language, of which journalistic is the most complex, and it serves journalists for writing, whereby, in order to encourage the user to click on a certain title, they additionally stylize it. They use stylistic figures to make the titles more attractive, sometimes turning them into clickbait – the title promises a lot, but the content disappoints. Content analysis and qualitative analysis conducted on the headlines of the 24sata.hr portal revealed three types of titles and numerous citations whose sources are the most important state persons or state bodies. Furthermore, the analysis identified 13 stylistic figures used in the titles that are grouped into three groups: construction figures (syntactic figures), word figures (tropics), and thought figures.

Rad se bavi temom i analizom ukrajinsko-hrvatskih veza sagledanih kroz retoričke i kulturno-političke aspekte. Cilj ovog istraživanja bio je ustvrditi postoji li veza i koje su razlike između ukrajinskih i hrvatskih propovijedi sa specifičnostima ratnog stanja i razdobljem unutar kojih su nastale. Pitanje koje se postavlja koriste li Kardinal Franjo Kuharić i Epifanij Metropolit u svojim propovijedima stilske figure (metafore i hiperbole) i kakav je ritam govora s obzirom na jezične, kulturne i vjerske karakteristike Ukrajine i Hrvatske. Korpus čini šest videozapisa koja su transkribirana, od koji su 3 ukrajinska teksta prevedena na hrvatski jezik. Za potrebe analize ritma govora korišten je računalni program Praat. Rezultati analize ukazuju na to da su katoličke propovijedi za razliku od pravoslavnih stiliziranije s uporabom snažnijih metafora i hiperbola. Ritmički gledano pravoslavne propovijedi su disritmično-ritmične, a katoličke ritmično-ritmične. Na kraju rada raspisana je nastavna jedinica kojom se pokazuje kako se elementi rada mogu primijeniti u nastavi. The aim of this research was to connect and determine the difference between the Ukrainian and Croatian sermons in the specifics of the state of war, through rhetorical and cultural-political aspects. The main question in thesis is do Cardinal Franjo Kuharić and the Metropolitan Epiphany use stylistic figures (metaphors and hyperboles) in their sermon and what is the rhythm of speech given the linguistic, cultural and religious characteristics. The corpus consists of six videos that have been transcribed, of which 3 Ukrainian texts are translated in the Croatian language. For the purposes of speech rhythm analysis, the Praat computer program was used. The results of the analysis suggest that Catholic sermons contradict Orthodox stylizations using stronger metaphors and hyperbole. Orthodox sermons are disrhythmic-rhythmic, and Catholic sermons rhythmic-rhythmic. At the end of the thesis, a teaching unit is created and shows how the elements of the thesis can be used in school curriculum. Дипломна робота "Риторичний аналіз католицьких та православних проповідей" має науково-міждисциплінарний характер. Його завдання проаналізувати та дослідити українсько-хорватські зв’язки, що розглядаються через риторичний та культурно-політичний аспекти. Метою цього дослідження було встановити, чи існує зв’язок та які відмінності між українськими та хорватськими проповідями зі специфікою стану війни та періоду, протягом якого вони виникли. Питання полягає в тому, чи Кардинал Франьо Кухарич та Митрополит Епіфаній використовують у своїх проповідях стилістичні фігури (метафори та гіперболи) та який ритм виступу з огляду на мовні, культурні та релігійні особливості, які тісно пов’язують дві країни. Для кращого порівняння проповідей було переписано всі 6 відео, з яких 3 українські. Tексти були перекладені хорватською мовою. Для аналізу ритму мовлення була використана комп’ютерна програма Praat. Результати аналізу свідчать, що католицькі проповіді, на відміну від православних, більш стилізовані при більш частому використанні метафор та гіперболи. Ритмічно кажучи, православні проповіді є аритмічно-ритмічними, а католицькі проповіді - ритмічно-ритмічними. Наприкінці дипломної роботи відображена навчальна одиниця для навчання учнів про елементів з діпломної роботи.

Nogomet je sport o kojem se najviše izvještava u hrvatskim medijima, pogotovo u sportskim novinama u kojima nogometni tekstovi pune više od pola ukupnog broja stranica dnevnog lista. Prilikom pogleda na tiskane novine prvo što čitatelj uoči je naslov koji ako nije zanimljiv može biti i posljednje što će čitatelj u tim novinama pročitati. Kako bi naslove učinili što privlačnijima, novinari se služe različitim stilskim sredstvima. U radu se analiziraju stilske figure pronađene u naslovima o nogometnim izvješćima na naslovnim stranicama hrvatskih dnevnih novina, Sportske novosti. U analizi sadržaja i stila izdvojeno je devet najzastupljenijih stilskih figura: eksklamacija, elipsa, epitet, hiperbola, metafora, metonimija, personifikacija, poredba i retoričko pitanje. Prepoznavanje figura i njihovih obilježja pomoći će u razumijevanju njihovih uloga u naslovima, ali i u shvaćanju pravilne i poželjne uporabe figura u nogometnom žargonu. Football is the sport that is most reported in the Croatian media, especially in sports newspapers in which football texts play more than half of the total number of daily newspaper's pages. When looking at a printed newspaper, the first thing the reader notices is the headline, which, if not interesting, can be the last thing the reader will read in that newspaper. To make the headlines attractive, journalists served different stylistic figures. This diploma paper analyses different stylistic figures found in the headlines about football reports on the front pages of Croatian daily newspapers, Sportske novosti. In the content and style analysis, the nine most represented types of figures are singled out: exclamation, ellipse, epithet, hyperbole, metaphor, metonymy, periphrasis, personification, additional, and rhetorical questions. Recognizing the figures and their characteristics will help in understanding their roles in the titles, but also in understanding the proper and desirable use of the figures in football jargon.

Nogomet je sport o kojem se najviše izvještava u hrvatskim medijima, pogotovo u sportskim novinama u kojima nogometni tekstovi pune više od pola ukupnog broja stranica dnevnog lista. Prilikom pogleda na tiskane novine prvo što čitatelj uoči je naslov koji ako nije zanimljiv može biti i posljednje što će čitatelj u tim novinama pročitati. Kako bi naslove učinili što privlačnijima, novinari se služe različitim stilskim sredstvima. U radu se analiziraju stilske figure pronađene u naslovima o nogometnim izvješćima na naslovnim stranicama hrvatskih dnevnih novina, Sportske novosti. U analizi sadržaja i stila izdvojeno je devet najzastupljenijih stilskih figura: eksklamacija, elipsa, epitet, hiperbola, metafora, metonimija, personifikacija, poredba i retoričko pitanje. Prepoznavanje figura i njihovih obilježja pomoći će u razumijevanju njihovih uloga u naslovima, ali i u shvaćanju pravilne i poželjne uporabe figura u nogometnom žargonu., Football is the sport that is most reported in the Croatian media, especially in sports newspapers in which football texts play more than half of the total number of daily newspaper's pages. When looking at a printed newspaper, the first thing the reader notices is the headline, which, if not interesting, can be the last thing the reader will read in that newspaper. To make the headlines attractive, journalists served different stylistic figures. This diploma paper analyses different stylistic figures found in the headlines about football reports on the front pages of Croatian daily newspapers, Sportske novosti. In the content and style analysis, the nine most represented types of figures are singled out: exclamation, ellipse, epithet, hyperbole, metaphor, metonymy, periphrasis, personification, additional, and rhetorical questions. Recognizing the figures and their characteristics will help in understanding their roles in the titles, but also in understanding the proper and desirable use of the figures in football jargon.

The paper is a study of the rhythmic organization of poetry as presented in poetic works by the Roman poet Catullus. The author gives special attention to such stylistic figures capable of creating poetic rhythm as homeoteleton, homeoptone, and epanaleps as well as characterizes their role and function in Catullus’ verses.

Аксиологический диапазон художественной литературы : сб. науч. статей [по материалам междунар. науч. конф.]. - Витебск : ВГУ имени П. М. Машерова, 2020. - С. 76-79. - Библиогр.: с. 78 (5 назв.)., В статье рассмотрены авторские колыбельные Юнны Мориц, проанализированы средства выразительности и стилистические фигуры в контексте особого художественного стиля поэта, определены черты фольклорных колыбельных песен в указанных поэтических произведениях. = The article considers the author's lullabies of Yunna Moritz, analyzes the means of expression and stylistic figures in the context of the poet's special artistic style, and defines the features of folklore lullabies in these poetic works.

Стаття є спробою здійснити загальний аналіз семантико-функціональних особливостей терміна педагогіки. Термін розглянуто як основну одиницю фахової мови, окреслення семантики якої передбачає визначення диференційних ознак. Доведено, що умовою функціонування педагогічної термінології є семантичні відношення, які сприяють системності та відіграють термінотвірну роль., Статья является попыткой осуществить общий анализ семантико-функциональных особенностей термина педагогики. Термин рассмотрен как основная единица профессионального языка, очерчивание семантики которой предусматнивает определение дифференциальных признаков. Доказано, что условием функционирования педагогической терминологии являются семантические отношения, которые способствуют системности и играют терминообразовательную роль., The article is an attempt to make a general analysis of the semantic and functional features of the term of the pedagogical industry, which is considered as the basic unit of professional speech and is characterized by semantic, notional and derivative specificity.The purpose of the article is to define the semantic and functional space of terms of pedagogy used in one of the dynamic spheres.The object of the study is the pedagogical term.The subject of the study is the semantic and functional features of the term of the pedagogical industry, in particular, semantic relations and their term-formative potential.The methods used in the study are theoretical analysis, synthesis, component and definitive method.It is stated that the pedagogical term is the result of the process of cognition of concepts, objects and phenomena of objective reality associated with the scientific and educational process (cognitive function), is included in the system of industry terminology, accurately and concisely fixing a certain professional content (nominative and significative functions). The named terminological functions are qualified as the main ones.Pedagogical terms reflect concepts which are interrelated and correspond to the scientific concept of the industry. The meaning of the term consists of components (semas), which are determined by comparison. The definition of the semantics of the term involves the definition of differential features. They distinguish the term from other lexical units or other meanings.It is proved that the condition for the functioning of the terminology of pedagogy is different types of semantic relations. They act as factors of systemicity and play a term-formative role (stylistic figures are the means of formation a polysemant), and the semantic way of formation of pedagogical terms is a priority.The prospects for studying the semantics of the terms of the pedagogical industry can be seen in the study of their conceptual potential.

Cilj ovog rada bio je analizirati pripovijedanje i način na koji su se autorice izražavale u svjedočanstvima o nestalima u Domovinskom ratu. Obitelji još uvijek tragaju za 1902 osobe koje su izgubili za vrijeme Domovinskog rata, odnosno od 1991. do 1995. godine. Njihov nestanak nije samo obiteljska trauma koja se prenosi s generacije na generaciju, odnosno transgeneracijska trauma, već on postaje društveni problem. Upravo zato što to postaje društveni problem, 24sata su od studenog 2016. krenula emitirati serijal Nestali na web platformama i u novinama. Tada je brojka nestalih u Domovinskom ratu bila 1940. Tri godine kasnije, odnosno do zaključenja pisanja ovog diplomskog rada, u lipnju 2019. evidentirane su 1902 osobe. Kontekst Domovinskog rata prožima se kroz sve tekstove. Uz žrtvu, afirmiramo ga kao nešto vrijedno, te se on se uklapa u službenu priču. Službena priča cijele knjige je nestanak i smrt branitelja, dugogodišnja obiteljska agonija te neprestano traženje i traganje za tijelom. Te teme autorice su obradile na način primjeren novinarstvu, odnosno odradile su novinarski posao obavljajući intervjue, ali u njih unijele i književnoumjetnički stil. Uporabom raznih stilskih figura možemo zaključiti kako su doprle do emocija čitatelja jer u svim pričama izjave i izraze pojačavaju sa stilskim sredstvima. Kroz sva svjedočanstva možemo uočiti generalnu antitezu – mi vs. oni. Van Dijk je to nazvao ideološkim kvadratom. Glavna karakteristika svakog političkog (i ideološkog) diskursa jest polarizacija na “nas” i “njih”, tj. pozitivno samovrednovanje i negativna reprezentacija drugih naglasak na pozitivnoj reprezentaciji grupe kojoj se pripada. Tako u radu možemo uočiti neprestano isticanje naše, odnosno hrvatske strane, i njihove, agresorske strane. Narativnom analizom ustvrdili smo da vlastitim stilom autori mogu utjecati na čitateljevo shvaćanje priče i njihove emocije. Autorice odabirom riječi, konstrukcijom rečenica i stilskim figurama “oblikuju” značenje i shvaćanje rečenica i izraza i tako izravno utječu na emocionalno stanje primatelja poruke. Ono je možda i podsvjesno, ali svakako ima učinka. The aim of this paper was to analyse the storytelling and manner in which the authors narrated the witness accounts of the missing persons in the Homeland War. Families are still searching for 1902 persons that went missing during the war, from 1991 to 1995. Their disappearance is not only a family trauma transferred from generation to generation –transgenerational trauma – but it has also become a social issue. For that reason, 24sata launched in November 2016 a campaign called “Gone, but not forgotten” in print and TV. The number of recorded missing persons at that time was 1940, and three years later in June 2019, at the time of writing this paper, the official number dropped to 1902. The context of the Homeland War is integrated into all the witness accounts. Just as victims, the war is affirmed as something valuable that belongs to the official report. The on-the-record story behind the entire book is the disappearance and death of war veterans, long-lasting family agonies, and a never-ending search for the missing bodies. The authors have analysed the topics in a journalistic manner by carrying out interviews, but they have also adopted the literary-artistic style in their writing. By using various literary devices, they managed to penetrate the emotions of readers as all the statements of all the stories have been intensified by means of those devices. All witness accounts contain the main anthesis – us vs. them – which is what Van Dijk refers to as the ideological square. The main feature of every political (and ideological) discourse is the polarisation of “us” and “them” – positive self-presentation and negative other-representation, with the emphasis on the positive representation of the group we belong to. Therefore, the paper constantly points out the “our”, Croatian side, against their, aggressor’s side. The narrative analysis has confirmed that the authors are able to use their own style to affect the reader’s understanding of the story and their emotions. By carefully choosing words, constructing sentences and adopting literary devices, the authors shape the meaning and understanding of the sentences and expressions, thus impacting the emotional state of the reader. Although it may be taking place on a subconscious level, it does have an impact.

Cilj ovog rada bio je analizirati pripovijedanje i način na koji su se autorice izražavale u svjedočanstvima o nestalima u Domovinskom ratu. Obitelji još uvijek tragaju za 1902 osobe koje su izgubili za vrijeme Domovinskog rata, odnosno od 1991. do 1995. godine. Njihov nestanak nije samo obiteljska trauma koja se prenosi s generacije na generaciju, odnosno transgeneracijska trauma, već on postaje društveni problem. Upravo zato što to postaje društveni problem, 24sata su od studenog 2016. krenula emitirati serijal Nestali na web platformama i u novinama. Tada je brojka nestalih u Domovinskom ratu bila 1940. Tri godine kasnije, odnosno do zaključenja pisanja ovog diplomskog rada, u lipnju 2019. evidentirane su 1902 osobe. Kontekst Domovinskog rata prožima se kroz sve tekstove. Uz žrtvu, afirmiramo ga kao nešto vrijedno, te se on se uklapa u službenu priču. Službena priča cijele knjige je nestanak i smrt branitelja, dugogodišnja obiteljska agonija te neprestano traženje i traganje za tijelom. Te teme autorice su obradile na način primjeren novinarstvu, odnosno odradile su novinarski posao obavljajući intervjue, ali u njih unijele i književnoumjetnički stil. Uporabom raznih stilskih figura možemo zaključiti kako su doprle do emocija čitatelja jer u svim pričama izjave i izraze pojačavaju sa stilskim sredstvima. Kroz sva svjedočanstva možemo uočiti generalnu antitezu – mi vs. oni. Van Dijk je to nazvao ideološkim kvadratom. Glavna karakteristika svakog političkog (i ideološkog) diskursa jest polarizacija na “nas” i “njih”, tj. pozitivno samovrednovanje i negativna reprezentacija drugih naglasak na pozitivnoj reprezentaciji grupe kojoj se pripada. Tako u radu možemo uočiti neprestano isticanje naše, odnosno hrvatske strane, i njihove, agresorske strane. Narativnom analizom ustvrdili smo da vlastitim stilom autori mogu utjecati na čitateljevo shvaćanje priče i njihove emocije. Autorice odabirom riječi, konstrukcijom rečenica i stilskim figurama “oblikuju” značenje i shvaćanje rečenica i izraza i tako izravno utječu na emocionalno stanje primatelja poruke. Ono je možda i podsvjesno, ali svakako ima učinka., The aim of this paper was to analyse the storytelling and manner in which the authors narrated the witness accounts of the missing persons in the Homeland War. Families are still searching for 1902 persons that went missing during the war, from 1991 to 1995. Their disappearance is not only a family trauma transferred from generation to generation –transgenerational trauma – but it has also become a social issue. For that reason, 24sata launched in November 2016 a campaign called “Gone, but not forgotten” in print and TV. The number of recorded missing persons at that time was 1940, and three years later in June 2019, at the time of writing this paper, the official number dropped to 1902. The context of the Homeland War is integrated into all the witness accounts. Just as victims, the war is affirmed as something valuable that belongs to the official report. The on-the-record story behind the entire book is the disappearance and death of war veterans, long-lasting family agonies, and a never-ending search for the missing bodies. The authors have analysed the topics in a journalistic manner by carrying out interviews, but they have also adopted the literary-artistic style in their writing. By using various literary devices, they managed to penetrate the emotions of readers as all the statements of all the stories have been intensified by means of those devices. All witness accounts contain the main anthesis – us vs. them – which is what Van Dijk refers to as the ideological square. The main feature of every political (and ideological) discourse is the polarisation of “us” and “them” – positive self-presentation and negative other-representation, with the emphasis on the positive representation of the group we belong to. Therefore, the paper constantly points out the “our”, Croatian side, against their, aggressor’s side. The narrative analysis has confirmed that the authors are able to use their own style to affect the reader’s understanding of the story and their emotions. By carefully choosing words, constructing sentences and adopting literary devices, the authors shape the meaning and understanding of the sentences and expressions, thus impacting the emotional state of the reader. Although it may be taking place on a subconscious level, it does have an impact.

Presentation of the corresponding issue for the months of April-May-June. The new measures taken by the new Editorial Board are explained. And finally, the new guiding principles of the journal are described., Presentación del número correspondiente a los meses de abril-mayo-junio. Se explican las nuevas medidas tomadas por el nuevo Consejo Editorial. Y por último se describen los nuevos principios rectores de la revista.

For a comprehensive study of tropes and stylistic figures of the Ukrainian language is extremely important to learn the basic functions of tropes in the scientific linguistic articles. The actuality of the research topic is determined by the need of a systematic study of tropes and stylistic figures that are traditionally considered unusual for the text, but we will try to prove that they are relevant. In modern scientific literature, the expressive and emotional function is presented and implemented by the help of such tools as epithets and metaphors. The study of the linguistic features of scientific discourse is of great importance to find ways of explaining a certain material. The study, using a free associative experiment, has led to the conclusion that the use of artistic means and stylistic figures in the educational and scientific texts makes it possible to master the material better. Generally speaking, the use of artistic means in scientific texts is not widespread, but the student audience prefers these texts. The use of metaphors, epithets, phraseologisms, comparisons, periphrases in professional articles is an effective way of highlighting important elements of scientific discourse, forming the individual style of the researcher. If the text is addressed to the reader for educational purposes, the correct use of paths will facilitate the quickest possible understanding of the basic thought of the message. In our view, a promising direction is the further study of communicative analysis of tropes in scientific texts.

Background: The kernel of the problem, outlined in the present paper, provides the actual need for investigation of the peculiarities of pronoun stylistics in the texts of intimate lyrics as material, that reveals semantic and stylistic capacity of pronominatives. Purpose: The purpose of the present article is to define semantic capacity of stylistic figures through the semantics of pronoun. Results: In consequence of conducted research it’s appeared, that pronominatives take an active part in the formation of stylistic means and figures in poetic texts of intimate lyrics, such as: anaphora, epiphora, anepiphora, antithesis, oxymoron, syntactic parallelism, inversion, reiteration. In the considered factual material the most frequent participation of pronouns is revealed in the formation of stylistic figure of anaphora, that can be explained through the tradition of pronoun’s grammatical functions, function of replacement in particular. Nevertheless, occasionally the occurrence of epiphora formation as a means of author’s expressiveness is observed. The rest of examined stylistic methods and figures in analyzed texts of love lyrics are solitary. Discussion: The investigation of stylistic figures, generated with the means of pronouns in the texts of intimate poetry, represents wide semantic and stylistic capacity of the pronominatives. The further research of the stylistic function of pronouns provides an opportunity to trace a palette of pronouns forms usage for implementation of author’s creative intentions.

U ovom se diplomskom radu analizira uporaba stilskih figura u sportskom izvještavanju. Istraživanje se temeljilo na pisanim medijima te se provelo metodom analize sadržaja. Zastupljenošću figurativnih izraza u sportskim izvještajima i člancima, može se zaključiti kako su oni neophodni u prezentiranju te tematike. Stilskim figurama priča se pobliže dočarava, utakmice životnije prikazuju, a ambijent vjerodostojnije opisuje. Analiza je obuhvatila sportske sadržaje dnevnih novina Jutarnji list, Sportske novosti i Slobodna Dalmacija, te internetskih portala Telesport i Zadarski.hr. Izdvojeno je dvanaest vrsta figura; elipsa, epitet, metafora, metonimija, poredba, eksklamacija, gradacija, hiperbola, parafraza, perifraza, ponavljanje i opis, prema pet kategorija preuzetih iz Rječnika stilskih figura autora Krešimira Bagića., This diploma paper analyses the use of figurativeness in sports reporting. The research was based on written media and was carried out using the method of content analysis. With the representation of figurative expressions in sports reports and articles, it can be concluded that they are necessary in presenting sports topic. Figurativeness helps to tell the story more closely, to show the liveliness of matches and to describe the environment more accurately. The analysis included sports contents of Croatian daily newspapers Jutarnji list, Sportske novosti and Slobodna Dalmacija, as well as web sites Telesport and Zadarski.hr. Twelve types of figures are identified; ellipse, epithet, metaphor, metonymy, comparison, exclamation, gradation, hyperbole, paraphrase, periphrasis, repetition and description, according to five categories taken from the book Rječnik stilskih figura by author Krešimir Bagić.

Retorika odnosno vještina govorenja iznimno je bitna stavka u politici. Od političara se očekuje da znaju pažljivo birati riječi kako bi njihov govor bio privlačan publici. Cilj ovog rada jest da se kroz analizu primjera intervjua i izjava za javnost otkrije na koji način te korištenjem kojih stilskih sredstava i taktika političar Milan Bandić oblikuje svoju političku retoriku. Na temelju teorijskog okvira koji obuhvaća objašnjenje pojmova retorike, publicističkog stila te političkog diskursa, napravljena je kvalitativna analiza retorike Milana Bandića. Nakon analize je dokazano da politička retorika Milana Bandića obiluje stilskim figurama, a kao ključna točka njegove retorike ističe se taktika izbjegavanja odgovora., Rhetoric or speaking skills are an extremely important item in politics. Politicians are expected to know how to carefully choose words to make their speech appeal to the audience. The aim of this paper is to find out, through the analysis of examples of interviews and statements to the public, how and with which stylistic means and tactics politician Milan Bandic forms his own political rhetoric. Based on the theoretical framework that includes explanation of the concepts of rhetoric, publicist style and political discourse, a qualitative analysis of Milan Bandic's rhetoric was made. After analysis, Milan Bandic's political rhetoric has been shown to abound in stylistic figures, and as a key point of his rhetoric, the tactic of avoiding the answer is emphasized.

U radu se polazi od pojma stilske figure i posebno se govori o dvjema figurama koje su u nastavnom planu i programu za niže razrede osnovne škole. Analizirani su odobreni udžbenici za nastavu književnosti u trećem i četvrtom razredu osnovne škole sa ciljem utvrđivanja metodičkog pristupa figurama. U tu svrhu analiziran je metodički instrumentarij. Rezultati pokazuju kako su poredba i personifikacija zastupljene u udžbenicima za treći i četvrti razred, a najveća zastupljenost je u metodičkom instrumentariju udžbenika „Zlatna vrata―. Ispitano je učeničko poznavanje stilskih figura poredbe i personifikacije te sposobnost stvaranja poredbe i personifikacije na poticaj. Istraživanje je obuhvatilo 155 učenika trećih i četvrtih razreda Osnovne škole dr. Jure Turića u Gospiću. Rezultati istraživanja pokazuju kako su učenici usvojili pojam poredbe i personifikacije te da samostalno mogu stvarati poredbe i personifikacije na poticaj. The basis of this work is the term stylistic figure, more specifically two figures which are parts of the curriculum of the primary school. It was made by ananalysing of the approved students´ books for the literature classes in the 3rd and 4th grade of the primary school with the aim to determine metodical access to the figures. For this purpose, a metodical instrument is analysed. The results show that comparison and personification are present in the students´ books in the 3rd and 4th grade, and the greatest representation is shown in the metodical instrument of the student´s book called „Zlatna Vrata―. Students are asked to show their knowledge of the comparison and personification and ability to make such figures. The research included 155 students of the 3rd and 4th grade of the primary school dr. Jure Turić in Gospić. The results of the research show that students learnt the terms comparison and personification and have the ability to make such all by themselves.

Cilj ovog rada bio je utvrditi koliko je i na koji način figurativnost zastupljena u hrvatskim političkim kolumnama. Također, cilj je rada bio istražiti koja skupina novinara, podijeljenih pema političkoj orijentaciji, koristi više figura u svom pisanju. Korpusom su obuhvaćeni internetski portali: 24.sata, Slobodna Dalmacija, Dnevno hr i Večernji list, u razdoblju od 1. siječnja 2015. do 16. travnja 2015. Godine. Pročitano je i analizirano 20 političkih kolumni. Rezultati istraživanja pokazali su da novinari političkih kolumni često koriste figure. Najučestalija figura je prema očekivanjima metafora. Nakon metafore, novinari koriste metonimiju, poredbu, ironiju, epitete., Journalists and publicists are using journalistic or publicistic style while writing texts for the daily newspapers, magazines and other press. It is a complicated functional style that is divided in series of sub-styles. The goal of this thesis was to establish how much and in what way is figurativeness represented in the political columns. Moreover, the goal of the thesis was to investigate which group of journalists who were previously divided according to the political orientation uses more stylistic figures while writing columns. The thesis covers internet portals: 24 sata, Slobodna Dalmacija and Dnevno hr from January1st to April 16th, 2015, which represents 20 viewed political columns in total. The results of the research have shown that the journalists of the political columns are frequently using stylistic figures in their expression. The most frequent figure is the metaphor, which is frequent in everyday communication as well. After the metaphor, the journalists are mostly using metonymy, comparison, irony and epithets.