Nastala na spoznajnim temeljima i poredbenopovijesnim metodološkim načelima suvremene indoeuropeistike, Poredbenopovijesna gramatika hrvatskoga jezika prvi put na jednome mjestu iscrpno obrađuje povijest glasova i oblika suvremenoga hrvatskog standardnog jezika, uspoređujući tu povijest s glasovima i oblicima drugih indoeuropskih i baltoslavenskih jezika. Pa može li, pitat će se tko, takva knjiga biti zanimljiva ikome drugom osim stručnjacima?

Može, jer iza metodološki strogo postavljenoga lingvističkog pristupa razmatranju povijesti hrvatskoga jezika, pronaći će pažljiv čitatelj i elementarna znanja o poredbenopovijesnome jezikoslovlju te odgovore na neke izrazito popularne prijepore o razvitku hrvatskoga naroda i njegova standardnoga jezika.

ajpozneje od šestdesetih let minulega stoletja sodobnih umetnin ni več mogoče zaobjeti s pojmi tradicionalnih estetik: namesto da bi umetniki ustvarjali »dela«, vse bolj proizvajajo dogodke, ki stara estetska razmerja med subjektom in objektom ter med materialnim in znakovnim statusom razveljavljajo. Da bi lahko temu razvoju sledili, je Erika Fischer-Lichte izoblikovala tako imenovano estetiko performativnega. Ta temelji na pojmu uprizoritve in med drugim vključuje telesno soprisotnost akterjev in gledalcev, performativno proizvajanje materialnosti ter opredelitev uprizoritve kot dogodka. Estetika performativnega pomaga razumeti izrazne forme, ki si želijo odpraviti meje med umetnostjo in življenjem.

In its first two decades, much of cognitive science focused on such mental functions as memory, learning, symbolic thought, and language acquisition --the functions in which the human mind most closely resembles a computer. But humans are more than computers, and the cutting-edge research in cognitive science is increasingly focused on the more mysterious, creative aspects of the mind. The Way We Think is a landmark synthesis that exemplifies this new direction. The theory of conceptual blending is already widely known in laboratories throughout the world; this book is its definitive statement. Gilles Fauconnier and Mark Turner argue that all learning and all thinking consist of blends of metaphors based on simple bodily experiences. These blends are then themselves blended together into an increasingly rich structure that makes up our mental functioning in modern society. A child's entire development consists of learning and navigating these blends. The Way We Think shows how this blending operates; how it is affected by (and gives rise to) language, identity, and concept of category; and the rules by which we use blends to understand ideas that are new to us. The result is a bold, exciting, and accessible new view of how the mind works.

{s a mechanism of nomination metaphor is used above all in the conceptualization of man and his world. We analyze a fragment of the Balkan picture of the world pointing out similarities and differences in the metaphorization of human physical and psychological states in languages belonging to the Balkan language union: such = strong; firm

Rumanian is the only Romance language to have inherited the Latin supine. In modern Rumanian it is characterized by a low frequency of occurrence compared with the other non-finite forms of the verb but also by a great diversity of syntactic functions. This article aims at defining in syntactic, and to some extent, semantic terms the cases in which the Rumanian supine corresponds to the Bulgarian present passive participle, analysing the specific features of the construction where these two forms have analogical functions.

The renaming of three Slovene artists as Janez Janša, the prime minister of Slovenia, incites a number of thoughts. Although this was an intimate act not promoted in public, it is a fact that the renaming was done by three (conceptual) artists. With this act they have produced a series that points not so much to the name taken or the deed itself, but, rather, to its own meaning and effect. This series leads to the disappearance or emptying of the subject, to desubjectivisation; with its stringing into infinity, the series creates a sequence of empty signifiers, which then can be filled arbitrarily with new content. At issue here is not the disappearance of Emil Hrvatin, Žiga Kariž and Davide Grassi, as the artists were named before, but the disappearance of Janez Janša as the most renowned holder of the name. Therefore, the aim – non-conceptualised or collateral – of this act of renaming has been to undermine the existing ideological, economic and political power of the holder by sacrificing one's own intimate identity, as well as one’s own artistic and public identity. The artists have reached this goal through a strategy of subversive affirmation, which exploits the media effect of the renaming: the media cover this non-event on the basis of a certain automatism and thus generate a series of productive collisions. Apart from its almost physical character, the Janez Janša Project is also a media or mediated event par excellence, and it has been actually and fully realised only in forms of media representation. Its three manifestations – the intimate, or identity; the public, or political-performative; and the media, or mediated – can be best understood in the framework of contemporary biopolitics: the performance by the three artists is a form of their biopolitical self-representation.