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1.
Rhetorical Figures Between Traditional Poetry and Rap
Rok Klemenčič, 2020, master's thesis

Abstract: This Master’s thesis looks into figures of speech used in classical poetry as compared to rap. With the help of Heinrich F. Plett’s analytic scheme, we have established a model for future linguistic comparison which could be modified and applied to various fields and works. The results of the analysis have shown similarities and differences between poetry and rap from the point of view of figures as well as other rhetorical devices: rhythm, structure, motifs, etc. The figures are identified and their potential influence on the perception of the poem/rap song is analysed. Stylistic analysis serves as a basis for the comparison, and the thematically connected pairs allow us a deeper insight into the selected works. Some similarities beyond the mere use of figures are established, i.e., motifs, themes, rhythm and meter. This analysis allows us to compare the genres, while the results show tendencies and characteristics typical of either traditional poetry or rap, i.e., use of certain rhymes, orthography, and punctuation.
Keywords: Figures of speech, Stylistics, Poetry, Rap, Comparative approach
Published in DKUM: 25.01.2021; Views: 910; Downloads: 108
.pdf Full text (1,11 MB)

2.
Mind Style Analysis of Emma Donoghue's Protagonist in the Novel Room
Valerija Tominc, 2018, master's thesis

Abstract: Emma Donoghue’s main character and narrator in Room is a literary construct with a severely deviant mind style that portrays a unique outlook on the world. The protagonist is a five-year-old boy who has been living in extreme social isolation his whole life. His mother was kidnapped, locked in a room and repeatedly raped and gave birth to a son named Jack. The dissertation analyses and outlines the deviant features of his mind style. The analysis later focuses on the underlying reason that inspired or even provoked the author to construct such a deviant mind style. Two possible phenomena are introduced as the basis for the analysis. The first theory that is researched and then compared to the constructed mind style, is the theory of feral people, individuals living in extreme social isolation. Certain cases were supposedly raised by animals, others contained in small spaces without human contact. The second possible theory explaining Donoghue’s unique mind style construction, is an autistic disorder. Characteristics of feral and autistic individuals are often similar and sometimes even overlap, which is why this phenomenon was chosen as an alternative option for the basis of the construction of Jack’s mind style. The dissertation finally tries to determine, whether a feral or autistic nature can be ascribed to the protagonist, and to what extent he pertains to either theory.
Keywords: stylistics, mind style, foregrounding, deviation, feral, autistic
Published in DKUM: 30.11.2020; Views: 934; Downloads: 67
.pdf Full text (830,34 KB)

3.
Diminutives in Three Slovene Translations of Hamlet: Contrastive Analysis of the Original and the Translations
Urša Marinšek, 2018, master's thesis

Abstract: The use and formation of diminutives in English and Slovene differ to a considerable extent. The main categorization of diminutives into two groups according to their morphological structure classifies them into analytic and syntactic diminutives. On the one hand, it seems that in the English language it is difficult to find syntactic diminutives; this language apparently favors the analytical ones. On the other hand, there is a high frequency of syntactical diminutives in Slovene. These general characteristics of the two languages are expected to be replicated in literary works, therefore, also in drama, which – at least in theory – comes as close to spoken discourse as possible. These differences will therefore become evident in the contrastive analysis of Shakespeare’s Hamlet and its three Slovene translations. Furthermore, it will be interesting to see how the diminutives, their structure, function and even existence will vary in the process of translation from one language into the other. This thesis thus explores diminutives in four versions of this famous play by William Shakespeare: the original Hamlet and its three Slovene translations, which were completed over a relatively long time span by three different Slovene translators. Contrastive analysis shows that there are significant differences when it comes to the usage of diminutives. It is not just their presence, absence or modification that is interesting, but more importantly it is their stylistic function. Diminutives in the traditional sense mark “smallness,” but several other important functions emerge within dramatic texts. Emotional nakedness proved to be one of the most important roles and functions. In this role, they can express endearment, sarcasm, irony, facetiousness and many other stylistic and semantic nuances. If a diminutive is present in the original and carries emotional markedness, it is highly important for the translator to do his or her best to preserve this markedness (or compensate for it with a similar type of markedness) in the translation and thus retain the style of the original. If the translator is unsuccessful in this undertaking, regardless of whether objective reasons for such translation shifts exist, the translation inevitably loses. Questions related to changes in the interpretative potential of the translation versus the original represent one of the central issues in this Master’s thesis. Shakespeare has a long tradition in the Slovene cultural space and, therefore, in the Slovene context – and vice versa: Slovene readers and theatregoers have been acquainted with his plays for a long time. Hamlet has been translated into Slovene more than five times, and even more adaptations exist. The first translation of Hamlet dates back to the late 19th century, and the most recent to 2013 (translated by Srečko Fišer), which makes a time span of more than a hundred years. Because of multiple existing translations, this drama is a perfect candidate for a contrastive analysis such as this thesis and its research into the preservation of stylistic elements in translation. Only three translations are examined in this thesis, but they differ from each other in many respects. Considering their core characteristics, we could afford to label each of them with a distinctive adjective: Oton Župančič’s translation could be seen as the “traditional” one, Janko Moder’s as “experimental” and Milan Jesih’s as “modern.” Each translator has his own approach to the translation of diminutives, their employment, function and even formation; in some cases (but not all), one could even call it strategy. This means that if there is a diminutive in the original, it is not necessary that all (if any) of these translators will preserve it.
Keywords: William Shakespeare, Hamlet, contrastive analysis, translation, stylistics, diminutives, emotional markedness
Published in DKUM: 03.10.2018; Views: 1134; Downloads: 87
.pdf Full text (711,11 KB)

4.
First-Person Narrator's Mind Style in Slovenian Translations of the Novel To Kill a Mockingbird
Tadeja Tement, 2017, master's thesis

Abstract: The Master’s thesis explores the first-person narrator's mind style in Harper Lee’s novel To Kill a Mockingbird (1960) and its first Slovenian translation entitled Ne ubijaj slavca (1964). The second Slovenian translation with the title Če ubiješ oponašalca (2015) is used as a means of comparison and illustration of different translations. Mind style is concerned with how a literary character perceives the fictional world and it can be studied through linguistic categories. In the case of To Kill a Mockingbird, the features of the narrator’s mind style can be observed in three main areas: lexical choices, particularly the use of complex and evaluative adjectives, adverbs and numerous different verbs of movement; a frequent use of epistemic modality; and in the type of cohesive devices. A detailed analysis of the first translation revealed consistent translation shifts on the microstructural level in all these categories. As a result, the narrator’s lexical repertoire seems to be less varied and more child-like, she conveys a higher degree of objectivity and certainty in her utterances because many epistemic modality markers are omitted, and she sounds more explicit and repetitive than the “same” narrator in the original. The cumulative effect of these translation shifts does not only alter the narrator’s perceptions of the fictional world, but also influences the target readers’ perception of the narrator. The analysis of mind styles in both Slovenian translations demonstrated that the second Slovenian translation remained much more faithful to the original in terms of rendering these features of mind style.
Keywords: literary translation, stylistics, mind style, translation shifts, To Kill a Mockingbird
Published in DKUM: 08.05.2017; Views: 2245; Downloads: 139
.pdf Full text (1,54 MB)

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