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 Opera as Cultural Text (The Golden Cockerel by N.A. Rimsky-Korsakov)

This project entailed a detailed study and analysis of the literary and musical text of Rimsky-Korsakov's opera The Golden Cockerel, involving source study, philological and musical-historical analysis, etc. Goryachikh studied the process of the creation of the opera, paying particular attention to its genre, that of a character fable, which was innovative for its time. He considered both the opera's folklore sources and the influences of the 'conditional theatre' aesthetics of the early 20th century. This culture-based approach made it possible to trace the numerous sources of the plot and its literary and musical text back to professional and folk cultures of Russia and other countries. A comparative study of the vocabulary, style and poetics of the libretto and the poetic system of Pushkin's Tale of the Golden Cockerel revealed much in common between the two. Goryachikh concluded that The Golden Cockerel was intended to be a specific form of 'dialogue' between the author, the preceding cultural tradition, and that of the time when the opera was written. He proposed a new definition of The Golden Cockerel as an 'inversed opera' and studied its structure and essence, its beginnings in the 'laughing culture' and the deflection of its forms and composition in a cultural language. He identified the constructive technique of Rimsky-Korsakov's writing at each level of musical unity and noted its influence on Stravinsky and Prokoviev, also finding anticipations of musical phenomena of the 20th century. He concluded by formulating a research model of Russian classical opera as cultural text and suggested further uses for it in musicology.

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.