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Številka 2/2008 ~ Issue 2/2008

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Zoran Božič: Krst pri Savici in Sedem sinov: razumevanje, doživljanje, vrednotenje. Jezik in slovstvo. 2/2008. 5–20.
Empirična raziskava kognitivnega odziva na Prešernovo in Žemljevo verzno povest je pokazala, da je Krst pri Savici za dijake drugega letnika srednje šole na vseh treh ravneh bralnega razumevanja (besedni, interpretativni in ustvarjalni) precej zahtevnejše besedilo kot Sedem sinov, kar lahko pripišemo bistveni večji arhaičnosti in predvsem metaforičnosti jezika Prešernove pesnitve. Sedem sinov je tudi besedilo, ki daje srednješolcem več možnosti za čustveno opredeljevanje, bodisi s poistovetenjem s posameznimi literarnimi osebami bodisi z zavračanjem njihovih neprimernih dejanj. Krst pri Savici je za drugošolce nedvomno dosti bolj umetniško besedilo kot Sedem sinov, vendar pa Žemljeva pesnitev po njihovem mnenju prekaša Prešernovo po prepričljivejši zgodbi, bolje prikazanih literarnih osebah in tudi večji aktualnosti dogajanja, zato bi Sedem sinov lahko uvrstili v gimnazijske učne načrte kot dodatno besedilo.

Zoran Božič: Experience, Evaluation. Jezik in slovstvo. 2/2008. 5–20.
Empirical research of the cognitive response to the verse narrative of Prešeren and Žemlja shows that for second year high school pupils Baptism at the Savica is considerably more demanding than The Seven Sons on all three levels of reading comprehension (literal, interpretive and applied), a fact that we can attribute to the significantly more archaic quality and above all to the metaphorical nature of the language of Prešeren’s poetry. FurthermoreThe Seven Sons is a text that offers high school pupils more scope for emotional identification, whether with individual literary characters or through the rejection of their inappropriate acts. For second year high school pupilsBaptism at the Savica is undoubtedly a much more artistic text than The Seven Sons, but in their opinion Žemlja’s writing surpasses that of Prešeren because the story is more convincing, the literary characters are better illustrated  and the events are more current. ThereforeThe Seven Sons could be included in the grammar school curriculum as an additional text.



Katja Mihurko Poniž: Upodobitve jedi in jedcev v slovenskem leposlovju. Jezik in slovstvo. 2/2008. 21–32.
V prispevku je predstavljeno, kako so slovenski pisatelji v svoja dela vključili upodobitve jedi in jedcev in kakšno vlogo so imele te podobe v slovenskem leposlovju.  Upodobitve hrane in vsega, kar je z njo povezano, se v književnosti pojavljajo že od njenih začetkov. Od antike naprej lahko zasledujemo opise opulentnih pojedin ali slike pomanjkanja, ki so ga povzročile vojne, naravne katastrofe ali osebne tragedije. Vendar se hrana in tisti, ki jo uživajo, ne pojavljajo le kot slikovit del fabule, temveč imajo ti opisi pogosto metaforično funkcijo. Velikokrat avtorji na ta način izpovedujejo svoj kritičen odnos do družbe. V slovenski literaturi srečamo slikanje izobilja hrane, ki prestavlja prispodobo zadovoljnega življenja (Vodnik, Govekar, Kveder, Javoršek), pa tudi pretresljive slike lakote in ponižanj v borbi za vsakdanji košček kruha (Tavčar, Kersnik, Cankar, Voranc, Kranjec).  Nekateri avtorji so hrano vzeli le za izhodišče, na osnovi katerega so razložili svoj pogled na svet ali okarakterizali svoje literarne osebe (Valjavec, Kraigher, Izidor Cankar).

Katja Mihurko Poniž: The Portrayal of Food and Eaters in Slovene Literature. Jezik in slovstvo. 2/2008. 21–32.
The article presents the way in which Slovene writers have included portrayals of food and eaters in their work, and the role of these images in Slovene literature. Portrayals of food and everything connected with it have appeared in literature since its very beginnings. From antiquity onwards, we can find descriptions of opulent banquets or images of shortages caused by war, natural disaster or personal tragedy. However, food and those who eat it do not appear just as a colourful part of the story line, but rather these descriptions often have a metaphorical function. Often it is a means for authors to assert their critical attitude towards society. In Slovene literature we meet with the depiction of an abundance of food, which represents an allegory of the satisfied life (Vodnik, Govekar, Kveder, Javoršek), but also disturbing images of starvation and humiliation in the struggle for one’s daily bread (Tavčar, Kersnik, Cankar, Voranc, Kranjec). Certain authors take food only as a point of departure, on the basis of which to expound their world view or characterize their literary figures (Valjavec, Kraigher, Izidor Cankar).



Irena Avsenik Nabergoj: Nasilje v Cankarjevi drami Kralj na Betajnovi in vzporednice z evropsko literaturo. Jezik in slovstvo. 2/2008. 33–47.
Tragične podobe in usode nasilnežev ter žrtev nasilja kažejo na aktualnost teme nasilja v slovenski in svetovni literaturi ter v številnih vedah, kot so psihologija, filozofija, teologija, sociologija, pravo, politične vede idr. Ta prispevek obravnava stvarne in simbolne predstavitve nasilja v Cankarjevi drami Kralj na Betajnovi (Ottakring 1901) ter v delih nekaterih drugih evropskih klasikov, pri tem pa se osredotoča predvsem na psihološke in etične vidike. Like nasilneža (Kantor) in njegovih žrtev (Maks, Nina, Francka idr.) z vidikov medbesedilnosti vzporeja s podobami nasilja, nasilnežev in žrtev pri izbranih evropskih avtorjih, ki jih je Cankar bral (Hamlet W. ShakespearjaStebri družbe in Divja račka H. IbsenaMoč teme L. N. TolstojaZločin in kazen F. M. Dostojevskega). Primerjava pokaže več motivno-tematskih sorodnosti, obenem pa usmerja pozornost na posebnosti Cankarjeve ustvarjalne recepcije. Ob upoštevanju kolektivnih razsežnosti nasilja se Cankar osredotoča zlasti na subjektivne vidike in poudarja etično razsežnost, posledice nasilja za človekovo vest. V obravnavi nasilja v Kralju na Betajnovi se kažejo njegove tesne zveze in obenem prelom z Nietzschejevo filozofijo o nadčloveku.

Irena Avsenik Nabergoj: Violence in Cankar’s Drama The King of Betajnova and Intertextual Contacts with European Literature. Jezik in slovstvo. 2/2008. 33–47.
The tragic images and fates of perpetrators and victims of violence indicate how current the theme of violence is in Slovene and world literature, as well as in numerous areas of knowledge, such as psychology, philosophy, theology, sociology, law, political science, etc. The present article deals with the real and symbolic presentation of violence in Cankar’s drama The King of Betajnova (Ottakring 1901) and in certain other classic European works, focusing above all on psychological and ethical aspects.  From an intertextual perspective, the figures of the perpetrator of violence (Kantor) and his victims (Maks, Nina, Francka, etc.) have parallels in images of violence, perpetrators and victims in certain European authors whom Cankar read (Hamlet by W. ShakespearePillars of Society and The Wild Duck by H. IbsenThe Power of Darkness byL. N. Tolstoy and Crime and Punishment byF. M. Dostoyevsky). Comparison of these works exposes numerous motivic-thematic similarities, while at the same time shedding light on the special qualities of Cankar’s creative reception. While taking into account the collective dimensions of violence, Cankar focused primarily on subjective aspects and emphasized the ethical dimension, the consequences of violence for the human conscience. In the treatment of violence in The King of Betajnova both Cankar’s close connection and his break with Nietzsche’s philosophy of the superman are evident.



Saša Babič: Minimalni frazemi v slovenščini. Jezik in slovstvo. 2/2008. 49–63.
Prispevek obsega kratek pregled pojmovanja minimalnih frazemov, natančneje so obravnavani predložni glagolski. S strukturnega stališča problematiziramo uvrstitev minimalnih frazemov med frazeme: kje je meja med besedo in besedno zvezo ter ali frazeološko enoto lahko sestavljata le ena naglašena in ena klitična beseda oz. ena polnopomenska in ena nepolnopomenska enota. V nasprotju z nekaterimi frazeologi, ki določenih besednih zvez z vsemi značilnostmi frazemov, ki so fonetično gledano besede, ne uvrščajo v frazeologijo v ožjem smislu, v prispevku uvrstitev minimalnih frazemov argumentirano uvrščamo v frazeologijo v ožjem smislu. V drugem delu so podrobneje obravnavni minimalni frazemi s strukturo glagol + predlog.

Saša Babič: Minimal Phraseological Units in Slovene. Jezik in slovstvo. 2/2008. 49–63.
The article encompasses a brief examination of the concept of minimal phraseological units, with a more detailed treatment of verb+preposition phrases. From a structural point of view, we question the classification of minimal phraseological units amongst phrases. Where is the border between the word and the phrase? Can a phraseological unit be made up of just one stressed and one clitic word, i.e., one lexical and one non-lexical unit? In the article we argue for the classification of minimal phraseological units in phraseology in the narrow sense. This is in contrast to some phraseologists who do not classify certain phrases with all of the characteristics of phraseological units, and which are words from a phonetic point of view, in phraseology in the narrow sense. In the second part there is a detailed treatment of minimal phraseological units with the structure verb+preposition.



Gašper Ilc: O zanikanju in nikalnici v slovenščini. Jezik in slovstvo. 2/2008. 65–79.
Članek obravnava zanikanje v slovenščini z medjezikovnega vidika in se osredinja na njegove skladenjske ter pomenoslovne značilnosti. Na osnovi klasifikacije zanikanja Ö. Dahla (1979) pokažemo, da slovenska nikalnica ne kaže značilnosti tako oblikotvornega kot skladenjskega tipa zanikanja. Izhajajoč iz ustaljene klasifikacije nikalnih elementov (npr. Haegeman 1995), ugotavljamo, da slovenski nikalni zaimki najbolje ustrezajo kategoriji t. i. nikalnoujemalnih zaimkov, ki so oblikotvorno izpeljani iz vprašalnih zaimkov. V procesu skladenjske izpeljave (slovenski) nikalnoujemalni zaimki stopijo v ujemalno razmerje s stavčno nikalnico ne, ki ga interpretiramo kot enojno zanikanje. S pomenoslovnega vidika to razmerje imenujemo nikalno ujemanje in ga ločujemo od treh preostalih možnih interpretacij večkratnega zanikanja: dvojnega zanikanja, litot in poudarjenega zanikanja.

Gašper Ilc: On Negation and the Negator in Slovene. Jezik in slovstvo. 2/2008. 65–79.
The article deals with negation in Slovene from a cross-linguistic perspective, focusing on its syntactic and semantic characteristics. On the basis of the classification of negation by Ö. Dahl (1979), we demonstrate that the Slovene negator ne shows characteristics of both the morphological and syntactic types of negation. Following the well-established classification of negative elements (e.g., Haegeman 1995), we find that Slovene negative pronouns best fit the category of so-called Negative Concord Items (NCI) that are morphologically derived from interrogative pronouns. In the process of syntactic derivation (Slovene) negative pronouns enter into an agreement relationship with the sentence negator ne that we interpret as single negation. From a semantic point of view we call this relationship negative concord and we distinguish it from the other three possible interpretations of multiple negation: double negation, litotes and emphatic negation.