https://journals.phil.muni.cz/opera-slavica en-US os@phil.muni.cz (Opera Slavica) journals@phil.muni.cz (Technická podpora OJS FF MU) Sun, 15 Sep 2024 00:00:00 +0200 OJS 3.2.1.4 http://blogs.law.harvard.edu/tech/rss 60 https://journals.phil.muni.cz/opera-slavica/article/view/39198 Roman Madecki, Jiří Gazda Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs https://journals.phil.muni.cz/opera-slavica/article/view/39198 Sun, 15 Sep 2024 00:00:00 +0200 https://journals.phil.muni.cz/opera-slavica/article/view/39199 Roman Madecki, Jiří Gazda Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs https://journals.phil.muni.cz/opera-slavica/article/view/39199 Sun, 15 Sep 2024 00:00:00 +0200 https://journals.phil.muni.cz/opera-slavica/article/view/39200 The paper deals with the phenomenon of the power of words, which is understood as the effect that a word used in a communicative act can produce. Considerable attention is already paid to it in biblical texts, in which the word is regarded as a manifestation of human power and a real act. The misuse of language leads to misunderstandings and conflicts with unfortunate consequences for individuals and society. Some theories from the philosophy of language also reflect this issue. K. Bühler speaks in this context about the conative function of language, J. L. Austin about the perlocutionary act. Václav Havel also noted this nature of words in his plays, essays and speeches. According to Havel, language has an ambivalent nature, because it can be used to create on the one hand, and to provoke conflict and destroy on the other. However, conflicts can also arise because of various communication barriers. These barriers can be the result of a deformation of the code, the impossibility of opening a communication channel, the absence of a relationship between the text and the extra-linguistic reality, or the loss of the speaker's identity. Conflict in this sense is understood very broadly, i.e. not only as a mismatch between people, but also as a conflict between the language code, its users and the world in which they move. Roman Madecki Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs https://journals.phil.muni.cz/opera-slavica/article/view/39200 Sun, 15 Sep 2024 00:00:00 +0200 https://journals.phil.muni.cz/opera-slavica/article/view/39201 The paper will attempt to offer a model for the pragmastylistic analysis of the dramatic conflict in those plays in which the conflict has already occurred. In addition to the already established pragmatist tools that mainly use Goffman's face theory, Grice's principle of cooperation and maxims, and Brown-Levinson's politeness strategies, the analysis will include the cognitive theories of schemas, which will consequentlly lead to the consideration of discourse deviation and schema refreshment. Lada Kaštelan's The Last Link, which has already been marked as a spatio-temporal simultaneity and in which we can sense the dramaturgical solution of polyphony in the form of a collective stage, will serve as a suitable dramatic text for the analysis of the conflict that has already occurred. The offered analysis will determine the pragmatist characteristics of contemporary Croatian dramas, which are most evident in the ambiguity of time-space boundaries, monologic-dialogic determinations, and multi-level communication realized in the right that everyone speaks at the same time. Gabrijela Puljić Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs https://journals.phil.muni.cz/opera-slavica/article/view/39201 Sun, 15 Sep 2024 00:00:00 +0200 https://journals.phil.muni.cz/opera-slavica/article/view/39202 Šmíd's novel talks about the Ore Mountains, and focuses on the German and Czech population of this region. The compositional axis of the prose is formed by the so-called Noon Stone, which is significant particularly for Jakob Schmelzer. The novel is built on a paradoxical principle, which includes a paradoxical motif. The paradoxical nature is especially evident in the conclusion of the prose. The novel is further interwoven with prospectives and retrospectives, with anticipation and synchronous moments playing a significant role. The novel is imbued with a superstitious element in the from of a mysterious, mythical character. Šmíd framed the novel with a similar scene. Tectonically, the work is related to the prose of I. Olbracht and K. H. Mácha. František Všetička Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs https://journals.phil.muni.cz/opera-slavica/article/view/39202 Sun, 15 Sep 2024 00:00:00 +0200 https://journals.phil.muni.cz/opera-slavica/article/view/39203 The paper discusses the members of the word family of vulgarism kurva in the Czech language. Based on the lexicographic material and on the material of the Czech National Corpus (Český národní korpus) a derivational and semantic analysis of the derivatives is performed. The differences in their productivity, as well as specificities in meaning and functions in the context, are highlighted. Their lexicographic and translation equivalents in Serbian and English are also determined. Katarina Mitrićević-Štěpánek Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs https://journals.phil.muni.cz/opera-slavica/article/view/39203 Sun, 15 Sep 2024 00:00:00 +0200 https://journals.phil.muni.cz/opera-slavica/article/view/39204 Natural morphology is an elaborated part of natural language theory. Natural morphology, which arose in the late 1970s, is associated with the names of Dressler, Mayerthaler, Panagl and Wurzel. This linguistic theory offers an ideal theoretical frame to analyse the changes of languages within their system. The documented history of the Bulgarian language is now more than a thousand years old and it is also well investigated. The combination of Natural Morphology and the results from the Bulgarian Historical Linguistics seems to be productive in testing the mentioned part of the Natural Language Theory and also offers a chance to observe new correspondences concerning the historical changes in Bulgarian language. This study aims to give a brief review about how principles work in the historical change of the Bulgarian future tense. Rita Bálint Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs https://journals.phil.muni.cz/opera-slavica/article/view/39204 Sun, 15 Sep 2024 00:00:00 +0200 https://journals.phil.muni.cz/opera-slavica/article/view/39205 The main aim of this paper is to investigate the differences in the degree of syntactic maturity of the texts produced by the same students at the end of first grade, and at the end of the first compulsory education cycle (fourth grade). We examine the ability of first and fourth grade students to produce and use different types of dependent clauses in their essays. The corpus for this research consists of the texts of 42 first-grade students on a given topic, and the texts of the same students, on the same topic, in repeated data collection after 3 years, so a variance analysis with repeated measurement was performed. The results shed light on how the structure of complex and complex-compound sentences changes quantitatively and qualitatively at early school age. The results show that the production of relative clauses — one of the most reliable and relevant parameters for measuring the degree of syntactic maturity of the text — steadily increases with age, which is a strong indicator of the proper syntactic development. Maja Ivanović, Natalija Panić Cerovski Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs https://journals.phil.muni.cz/opera-slavica/article/view/39205 Sun, 15 Sep 2024 00:00:00 +0200 https://journals.phil.muni.cz/opera-slavica/article/view/39206 The article examines the features of the depiction of the death of characters in Gogol's story "Taras Bulba”. The main attention is paid to the relationship between spatial spheres, one of which includes Orthodox Cossacks, and the other Catholic Poles. The subject of narration and description in the story is death in the war for faith that the Cossacks are waging with the Poles. The author proves that the position of ethnocentrism occupied by the narrator, with an emphasis on the special connection of national feeling with religious feeling, determines his attitude towards the deaths of characters belonging to different spatial spheres, as the death of own and the death of alien. The attitude of the Cossacks to death is studied from the point of view of their value system as good death and bad death. It is shown that the narrator depicts the deaths of the Poles as one of the moments of the battle, which do not have such eventual significance as the deaths of the Cossacks. At the same time, the narrator corrects the position of ethnocentrism, combining the subjective perception of images of death with an objective assessment of what is happening. Vladislav Šajevič Krivonos Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs https://journals.phil.muni.cz/opera-slavica/article/view/39206 Sun, 15 Sep 2024 00:00:00 +0200 https://journals.phil.muni.cz/opera-slavica/article/view/39207 Mychajlo Najenko Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs https://journals.phil.muni.cz/opera-slavica/article/view/39207 Sun, 15 Sep 2024 00:00:00 +0200 https://journals.phil.muni.cz/opera-slavica/article/view/39208 Kryštof Peršín Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs https://journals.phil.muni.cz/opera-slavica/article/view/39208 Sun, 15 Sep 2024 00:00:00 +0200 https://journals.phil.muni.cz/opera-slavica/article/view/39209 Olga Berger, Jiří Gazda Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs https://journals.phil.muni.cz/opera-slavica/article/view/39209 Sun, 15 Sep 2024 00:00:00 +0200 https://journals.phil.muni.cz/opera-slavica/article/view/39210 Renáta Buchtová Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs https://journals.phil.muni.cz/opera-slavica/article/view/39210 Sun, 15 Sep 2024 00:00:00 +0200 https://journals.phil.muni.cz/opera-slavica/article/view/39211 Pavel Pilch Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs https://journals.phil.muni.cz/opera-slavica/article/view/39211 Sun, 15 Sep 2024 00:00:00 +0200 https://journals.phil.muni.cz/opera-slavica/article/view/39212 Dagmar Haladová Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs https://journals.phil.muni.cz/opera-slavica/article/view/39212 Sun, 15 Sep 2024 00:00:00 +0200 https://journals.phil.muni.cz/opera-slavica/article/view/39213 Barbora Kotíková, Tomáš Erhart Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs https://journals.phil.muni.cz/opera-slavica/article/view/39213 Sun, 15 Sep 2024 00:00:00 +0200 https://journals.phil.muni.cz/opera-slavica/article/view/39214 Jaroslav Sommer Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs https://journals.phil.muni.cz/opera-slavica/article/view/39214 Sun, 15 Sep 2024 00:00:00 +0200 https://journals.phil.muni.cz/opera-slavica/article/view/39215 Vojtěch Adam Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs https://journals.phil.muni.cz/opera-slavica/article/view/39215 Sun, 15 Sep 2024 00:00:00 +0200 https://journals.phil.muni.cz/opera-slavica/article/view/39216 Pavel Krejčí Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs https://journals.phil.muni.cz/opera-slavica/article/view/39216 Sun, 15 Sep 2024 00:00:00 +0200 https://journals.phil.muni.cz/opera-slavica/article/view/39217 Igor Cintula Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs https://journals.phil.muni.cz/opera-slavica/article/view/39217 Sun, 15 Sep 2024 00:00:00 +0200 https://journals.phil.muni.cz/opera-slavica/article/view/39218 Tomáš Erhart Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs https://journals.phil.muni.cz/opera-slavica/article/view/39218 Sun, 15 Sep 2024 00:00:00 +0200 https://journals.phil.muni.cz/opera-slavica/article/view/39219 Monika Válková Maciejewska Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs https://journals.phil.muni.cz/opera-slavica/article/view/39219 Sun, 15 Sep 2024 00:00:00 +0200 https://journals.phil.muni.cz/opera-slavica/article/view/39220 Viera Žemberová Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs https://journals.phil.muni.cz/opera-slavica/article/view/39220 Sun, 15 Sep 2024 00:00:00 +0200 https://journals.phil.muni.cz/opera-slavica/article/view/39221 Kryštof Peršín Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs https://journals.phil.muni.cz/opera-slavica/article/view/39221 Sun, 15 Sep 2024 00:00:00 +0200 https://journals.phil.muni.cz/opera-slavica/article/view/39222 Ján Gallo Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs https://journals.phil.muni.cz/opera-slavica/article/view/39222 Sun, 15 Sep 2024 00:00:00 +0200