BRANITI SE RIJEIMA PDF

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Tim rije ima do ekivao je svakoga tko bi ušao u autobus koji se poput puža Kada se on zbog toga po ne braniti ili se posve isklju i i povu e, ona e osje ati. Se-verbs, continued A4 SOBA Review of prepositions VJEBE [J] VEBE [E] [B, C] Pjesma se otvara s rijeima Oiju tvojih da nije / Ne bi bilo neba. braa Npl (sg form) brothers 8A2, 8A2z see brat braniti, branim (I) to. Nije se ni bacio na tlo, s rijeima: Zato mi se obraa? sam ve rekao, ego izmeu ostaloga vjeruje da se morate braniti od vanjskog svijeta koji.

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Published on Oct View Download 0. Nauno-struni asopis za jezik, knjievnost i kulturu broj 6 Izdava Philologia Philologia, Glavni i odgovorni urednik Doc. Nastojali smo da i sada asopis Philologia radoznalom itaocu zainteresovanom za jezik, knjievnost i kulturu pobudi panju dananjeg profesionalnog filologa.

Sveska koja je pred Vama donosi bezmalo 30 briljivo odabranih priloga, zbog ega smo braiti zadovoljni. Osnovna ideja koja proima priloge u ovom broju asopisa jeste osvetljavanje i popularizacija kod nas manje zastupljenih oblasti, ije vreme, kako se istie, tek dolazi. U tom smislu, profesorka Miel Gadpaj sa Univerziteta u Mariboru, renomirani strunjak za kanadske studije, otvara ovogodinji tom asopisa rubrikom Emerita, pruajui jednu rimeima, zanimljivu i sveobuhvatnu analizu dela Margaret Atvud, o kome govori u svetlu savremenih feministikih teorija.

Pored promocije kanadskih studija kod nas, ovaj broj asopisa Philologia nudi i priloge iz skandinavskih, kotskih i arabistikih studija, ali i kod nas uhodanih slavistikih, germanistikih i angloamerikih. Trudili smo se da u ovaj tom ukljuimo kompetentne analize to veeg broja jezika i knjievnosti, ali i stare i nove naune metode, koje su svoje mesto zasluile ili zadrale ak i u treem milenijumu, kada nauka neumitno napreduje i kri nove nauno-istraivake filoloke puteve.

Sinhroni i dijahroni planovi veto se prepliu u prilozima koji su pred Vama, klasina dela sueljavaju se sa postmodernistikim pravcima, dajui poseban peat asopisu kao celini. U svom prepoznatljivom maniru internacionalnosti i globalizma, Philologia neguje tradiciju viestrukog recenziranja. Posebno se ponosi sada ve pozamanim timom domaih i stranih recenzenata, koji su uvek spremni da izau u susret molbama Ureivakog odbora, to je za nas, kao jedan relativno nov asopis, od ogromne vanosti.

Udruenje Philologia podrava i Ministarstvo za nauku Republike Srbije omoguujui nam da ovaj asopis integriemo u naune tokove u Srbiji i inostranstvu. Zbog toga im se iskreno zahvaljujemo. Redakcija asopisa Philologia eli i nadalje da naunoj rijeim predstavlja istraivanja razliitih usmerenja i zato poziva na saradnju sve kolege koji su zainteresovani za nauke koje ovaj asopis neguje.

Rok za predaju radova za naredni, sedmi broj je 1. Svoje priloge moete slati od 1.

Twyman, James F. – Mojsijev Kod

Sva dodatna obavetenja, kao i elektronske verzije svih prethodnih brojeva asopisa, moete pronai na naem vebsajtu na adresi www. The journal comes out es, both in print and electronic edition.

Philologia publishes articles, critical essays, book reviews, conference reports and translations grouped into the following sections: The journal also includes information on the most recent publications in the scientific fields it promotes as well as conference calls for papers. This sixth issue of the Philologia journal proudly offers to its readership nearly 30 contributions submitted by the scholars from all over the world on a wide range of topics.

Both synchronic and diachronic philological viewpoints on languages, literatures and cultural matters are expressed. Various innovative philological and non-philological theory-based and practical perspectives come from Algeria, Montenegro, Morocco, Slovakia, Slovenia, Spain, and Serbia.

Gadpailles paper merges gender studies and cultural studies with the literary science in order to expound narrative techniques Atwood employs to incorporate the female body into cultural and political discourse.

The Editorial thanks Dr. Gadpaille for her efficiency, her eagerness to contribute and all support she showed during our co-operation. We are also much obliged to both international and Serbian reviewers for their insightful comments, branito effort and constructive criticism, without whose help this issue of the Philologia journal could not have been presented to the readership in this form.

Special thanks go to the Serbian Ministry of Science for providing continual financial assistance. Jubilarni peti broj nauno-strunog asopisa Philologia neformalno je predstavljen iroj javnosti na oktobarskom meunarodnom Sajmu knjiga na tandu izdavake kue Cambridge University Press, a velika sveana promocija odrana je 6.

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Tom prilikom, u ime Redakcije publici se obratila doc. U ime recenzentskog tima strog postupak recenziranja radova publici je opisala doc. Broj meunarodnih asopisa sa kojima je Redakcija uspostavila razmenu preao je dvadeset.

Tokom prethodne godine potpisana je saradnja sa Middle Ground, Journal of Literary and Cultural Encounters, koji izdaje Istraivaki centar za kulturu i komunikaciju Univerziteta u Beni Melalu u Maroku, zatim sa asopisom Zora, koji izdaje Slavistiko drutvo iz Maribora i sa rumunskim asopisom Cinematographic Art and Documentation, koji izdaje Univerzitet za medije iz Bukureta.

U toku prethodne godine asopis je dobio signaturu u Britanskoj biblioteci u Londonu ZF. Autorka ovih redova je Kursevi su obuhvatili prevoenje naunih i strunih tekstova iz oblasti medicine, ekonomije, prava, geografije, istorije, tehnike, mainstva, ekologije, aeronautike, savremene tehnologije, bankarstva i finansija, jezika EU, sudskog tumaenja.

Autori radova obradili su motiv glasa sa lingvistikog, kulturolokog i knjievno-naunog stanovita, koristei raznovrsne teorijske i primenjene okvire dominantne u naukama kojima se bave. Jochen Raecke i dr Biljana Golubovi. Poziv na uee svim lanovima Udruenja nalazi se na naoj internet prezentaciji www. I ove godine Udruenje je uspeno saraivalo sa Ministarstvom za nauku Republike Srbije uestvujui na konkursima za Pozivamo sve mlade kolege da nam se pridrue i svojim idejama obogate nae aktivnosti.

This paper will propose a taxonomy of gender performance as evident in a range of Atwoods fiction, particularly in the early fiction, where the social and political tussle over womens bodies is powerfully enacted. Atwoods first-person narratives construct the world as a text read from the perspective of the body with a frankness that was refreshing for its time. Her narrators name unnameable body parts, while registering a 20th-century dissatisfaction with the body gaps of earlier literature.

The protagonist of Surfacing, for example, challenges the flat constitution of the heroines body in fairy tales: The [fairy tales] never revealed the essential things about them [i. This is perceptual sophistication presented as obtuseness, or even social and literary retardation. Everything must and can be told coward The Jong type of body language is occasionally uttered by characters such as Anna in Surfacing.

The heavily made-up friend of the protagonist is coy about four-letter words, and her usage is not condoned, but presented as part of her insecurity with her image and role.

However, placing clara in the context of other maternal bodies in Atwoods oeuvre the pregnant older mother in The Art of cooking and serving, for example branniti nuance to the black humour of this picture. This kind of sr extravagance can be seen as a form of irreverence that counters the presentation of motherhood as sacred ritual in The Handmaids Tale, where the fundamentalist state of Gilead has made containers out of womens bodies: The outside can become hard and wrinkled, for all they care, like the shell of a nut Atwood Here Atwood criticises the fundamentalist rationalisation of biological destiny, which makes female bodies into sacral vessels which can be manipulated through taboos and sacrifices in the name of divine power.

Atwood is careful, however, to balance this critique with an analysis of western cultures objectivization of the female body. As offred leafs through brxniti womens magazines in the commanders office, a link emerges between commodification through the discourses of fashion and the reproductive commodification of Gilead. The Handmaids, as the plot clarifies, are merely the daughters of babyboomers, their bodies co-opted for a different struggle.

Boa-constrictor clara is also determined by her body and its pregnant state, but she represents a parodic inversion of the maternal vessel. But now these bodies are revealed in their true, upsetting light: Atwoods female body is not the synthetic product peddled by fijeima media, but a complex, warty construct and is viewed by the girl characters of Cats Eye with double fear because it represents a metamorphosis that they will be expected to embrace.

Joan, in Lady Oracle, hoards her similar knowledge of the body gijeima the secret that i alone know: These early extravagant, seemingly misogynistic tropes signal a return to an s child-like way of perceiving the adult body, from a position of difference, but not of complete otherness, since the child perceives the threat of mutation in its own future.

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At the same time, this grotesque body hovers close to the caegory of the abjectthe physically and politically unspeakable realm for which Atwood begins to provide a discourse enabling projection as a body politic. That such monstrous construction begins in girlhood signals the near-impossibility of retrieving any essential, pre-cultural body for women, despite the trends of naturalness in fashion, diet and lifestyle that marked rrijeima decades.

An important part of Atwoods body politic is linguistic. The word lady provides a useful example. Here is the protagonist from Surfacing seeking her self and her past in the family scrapbooks: They were ladies, all kinds: A lady was what you. The era in which lady meant what is represented in the clippings rijeimma in the past. The rijsima has become almost a term of abuse, which david uses sarcastically.

His question suggests that the protagonist10E m e r i t amay be looking for sex-that the lady is a tramp-and even connotes, in the phrase or something, that she might be selling it.

The bodiless garments from the sales catalogue assert the intrinsic emptiness of the lady category-the body is irrelevant to such categorisation. Atwood thus presents a schema revealing the constructed nature of a defining gender word of the day. Surfacing, then, is an early Atwood novel in which an extreme negation of the female body, almost an abnegation, marks the authors reaction to previous cultural and political events in north America-for example, the advent of the contraceptive pill or roe vs.

This constitutes one meaning behind the act of surfacing in Atwoods title. These characters all experience a form of divorce from either their names, or their bodies, or the discourse of media femininity. The split in perception produces the contradictions we have established-that womens bodies can be both fleshy and insubstantial, present and absent, named and unnameable.

The constructed nature of gender in these texts necessitates a range of techniques: The first technique, camouflage, is a metonymical form of construction, where the body is represented by items linked to it by cultural convention. These are often clothes, as in the case of the protagonist of Hurricane Hazel: The clothes never came out looking like the pictures on the pattern envelopes; also they were too big.

Ainsley says i choose clothes as though theyre a camouflage or a protective colouration Atwood The female body represents itself as female by donning a culturally-approved costume. Atwood also clarifies that bodily masquerade can be permanent, as in the case of lesje in Life Before Man, who goesclothes shopping: Brnaiti could trace my hair much more easily than they could trace me Atwood At least this protagonist still asserts a me behind the camouflage of red hair.

This incident points to another meaning of the word surfacing: Being a lady meant a smooth, gendered act of surfacing. This is the performance of gender that most early Atwood heroines are not good at and eventually look rijeims, seeking an essential body that becomes progressively less available.

There are various narrative techniques for lifting these carefully-crafted gender surfaces, usually achieved with Atwoods metamorphic language. Elizabeth in Life Before Man provides clear examples of both surface camouflage and female interior: A second metonymic technique can be called erasure.

Doktor Faustus – Thomas Mann

Here is Atwoods narrator describing the character marylynn in Bluebeards Egg: Her hair is prematurely grey and she leaves it that way. Her body almost does not exist inside the cultural trappings. Thus the graniti surprise when Ed is seen fondling marylynns assthe metonymically-constructed woman of that class and age shouldnt have an ass, but a body missing in action, as in the paper cut-outs from the childs scrapbook of Surfacing.