Linguistic Stylistics

Marina Katnic-Bakarsic. Linguistic Stylistics The practical, i.e. educational, objective of this research was to produce lectures on linguistic stylistics for the students of Sarajevo University, while the theoretical one was to produce a monograph on the subject. This monograph, which can also be used as a university textbook, includes twenty-nine chapters, an index of topics, a bibliography and a list of sources. The theoretical postulates are followed by examples from texts in various functional styles in Bosnian, Croatian, Serbian, and in some cases Russian or English. Linguo-stylistic problems were investigated from both the structuralist and post-structuralist points of view. Linguistic stylistics is therefore understood as a discipline which studies expressive, stylistically marked language units on all language levels, functional-stylistic language variation and various aspects of intertextuality and metatext. The author introduces a notion of stylistic competence. The stylistic competence of a speaker is directly proportional to his/her knowledge of different varieties of language (i.e. subcodes) and to the successful switching from one subcode to another. Stylistic creativity is a special segment of stylistic competence as a feature of individual style. A new classification of functional styles has also been introduced. This includes six primary styles (scientific, colloquial, administrative, publicistic, journalistic and literary-artistic) and five secondary styles (oratorical, the style of advertisements and commercials, that of comics, that of essays and that of screenplays). A special place is given to the analysis of the style of hypertext and hypermedia, which can be understood only within the post-structuralist theory of text deconstruction and intertextuality. The project also analysed some new topics, including reregistration in literary texts, gender and style of dialogue, and citations as metatextual signals and their role in different types of text. The results therefore offer a new approach to the study of linguistic stylistics both in Bosnia and Herzegovina and in the field in general.

Czech Syllabic-Accentual Metres (1795-1914)

This project was part of a major research project into Czech verse texts from the National Revival to the present and looked at two groups of topics from the theory and history of Czech verse. The first was the rhythm of iambic and trochaic trimeter and trochaic hexameters, with a typological distinction of variants due to individual and generational arising. The rhythmic contours of 63 sets of verses were described statistically and differences in the frequency of stresses on strong and weak positions of the metre were identified. The second part of the project concerned the Czech dactyl. The history of triple metres ranging from poets of the Enlightenment to the present day underground writer Krchovsky were traced in detail. Along with the rhythm and technique of verse, the group analysed the semantics of dactylic metres of different extents (dimeters, trimeters, etc.) and their relationships to literary genres and trends. Their findings differ totally from the assumptions of traditional metrics. A general metrical norm of dactylic verses was defined within the system of rules of correspondence by the method of generative metrics. They established a typology, specified the frequency of divergences from the norm in a range of texts and investigated their role in the style and rhythmic differentiation of poetic works.

Russian Writers and the Third Section

The Third Section was an instrument not so much of oppression as of information, propaganda and education. Under Nicholas I, the press did not represent public opinion, but rather the official point of view. It was intended to shape public opinion rather than to express it and much of the Third Section's activity focused on creating the best possible contacts with journalists and men of letters. The Third Section supervised literary activities by examining works in print and collecting information through its agents. It rewarded those authors whose work was approved by the emperor, it used writers to pursue its goals, especially in order to "direct minds", but acted as a mediator between the tsar, censors and writers, or sometimes as arbiter in conflicts between writers themselves, and it also acted as a censor. Writers, for their part, served in the Third Section, becoming its agents or consultants, delivering reports to it and writing texts commissioned by the Section. The majority of writers did not see any problems with serving or assisting the Third Section. Ideologies offering an alternative to state monarchism /in professional literature or individual liberalism/ were very weak. The only exception was a small group, mostly composed of eminent and highly educated aristocrats who possessed alternative moral and financial resources. Reitblat showed that the strong ties maintained by some journalists and writers with the Third Section were not unfortunate exceptions due to the low moral qualities of those individuals, but rather a natural phenomenon which reflected the specific nature of the Russian literary system and, more generally, of Russian society as a whole.