<rdf:RDF xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#" xmlns:dcterms="http://purl.org/dc/terms/">
<rdf:Description rdf:about="https://omeka.ibu.edu.ba/items/show/1858">
    <dcterms:title><![CDATA[Female Characters in Bosniak Oral Epic Poetry]]></dcterms:title>
    <dcterms:abstract><![CDATA[The main focus of this study is to emphasize the importance of raising awareness of Bosnian cultural heritage for the benefit of future generations. Additional reason for this study is neglected position of female characters in Bosniak epic poetry that should be further explored due to its significant role. The third reason for choosing this topic is the fact that profiles of female characters can help us understand general position of women in Islam and in the Ottoman period. Namely, this type of poetry allows us to see this position in rather different light, which is not the case with other types of literature.  Methods used in this study: descriptive method, content analysis, comparative method and method of ideal types.  The female characters in this study are: hero&#039;s mother, sweetheart, fairies or Christian blood sister, hero’s sister and heroine. Each of these characters reflects typical and autonomous characteristics of women in the epic poem. The mother figure is the main female character in these songs. The sweetheart loves her hero and sacrifices herself for his love. The hero’s sister, Bosniak girl, is very brave and loyal. The Christian girl is ready to betray her own brother for love of Bosniak hero. The fairies are mythological creatures playing important role in these songs and mirroring old Balkan tradition of Bosniaks. A separate chapter is focused on female beauty. This chapter is relevant for the study as untraditionally speaks about female beauty - the beauty is approached in an ancient way.  This study has proven that the roles of female characters are not marginal, but relevant when it comes to development of oral epic poetry. Women are active participants to the events, not only observers.]]></dcterms:abstract>
    <dcterms:publisher><![CDATA[IBU Publishing]]></dcterms:publisher>
    <dcterms:date><![CDATA[2013-05-03]]></dcterms:date>
    <dcterms:extent><![CDATA[1747]]></dcterms:extent>
</rdf:Description><rdf:Description rdf:about="https://omeka.ibu.edu.ba/items/show/1859">
    <dcterms:title><![CDATA[The Use of Pragmatically Motivated Phraseological Units in Print Advertisements]]></dcterms:title>
    <dcterms:abstract><![CDATA[Key words: pragmatics, print ad, culture  ABSTRACT  The advertising itself is said to be a sort of persuasive discourse. Namely, it is ‘‘to a large extent a discourse of highly meaningful word-puns, hard-hitting slogans or other textual devices characteristic of a maximum economy of expression’’ (Cap 2002: 41). According to Angela Goddard (2005: 71), ‘‘advertisers often rely on the fact that readers approach texts in an active way, being prepared to work to decode messages’’. Therefore, the message ought to be colorful and memorable. One of the main features of advertising is the abundance of phraseological units that should be familiar to the majority of readers within a chosen target group. To put it simply, the wording of an advertisement must fulfill the basic aim: to become an effective tool which will make a potential customer pursue an action i.e. buy a product or at least to ‘‘develop some kind of favorable mental state towards an action i.e. admit possibility of buying a product at a later date’’ (Cap 2002: 42). The paper deals with the discourse of print advertising, focusing on the stylistic potential of phraseological unit as a lexicalized bilexemic or polylexemic word group, which has relative syntactic and semantic stability, may be idiomatized, may carry connotations and may have an emphatic function in a text.]]></dcterms:abstract>
    <dcterms:publisher><![CDATA[IBU Publishing]]></dcterms:publisher>
    <dcterms:date><![CDATA[2013-05-03]]></dcterms:date>
    <dcterms:extent><![CDATA[1899]]></dcterms:extent>
</rdf:Description><rdf:Description rdf:about="https://omeka.ibu.edu.ba/items/show/1860">
    <dcterms:title><![CDATA[Concepts and Conceptual Categories Used in Children&#039;s Short Stories]]></dcterms:title>
    <dcterms:abstract><![CDATA[Key words: language acquisition, conceptual categories, lexical classification  ABSTRACT  One cannot deny the fact that words and concepts are inseperable components of language acquisition. Examining words and conceptual categories gives information about language acquisition and development. In this sense conceptual constructions of the texts used in language development and preschool education have been examined. One of the conceptual classifications in the language acquisition literature is suggested by Clark (1995). This theory is used in the present study.  Vocabulary development in the mother tongue occurs by means of spoken and written texts that children are exposed to. Children see written texts via their parents in the language acquisition process. Types of these texts can be diversified. In this context this study is aimed to categorize concepts in the children’s stories which are one of the visual educational materials and to reach the principle findings about lexical hierarchy. The study is mainly based on indirect observation, content analysis and statistical analysis. Data of the study consist of 20 stories for 5;0+ year-old children. Lexical data were transcribed and compiled using Microsoft Excel and then all vocabulary lists were analysed/categorised according to Clark‘s classification (1995).  In the light of the foregoing information, the research questions are:  • What are the frequency levels of conceptual categories in children’s short stories?  • What are the frequency levels of conceptual subcategories in children’s short stories?  Findings gained from the database of this study are as follows:  • There are 4606 words in all stories’ database, 1606 of which are nouns, the most used category.  • The category of verbs is the second most used category. Verbal categories were divided into two subcategories: states and acts.]]></dcterms:abstract>
    <dcterms:publisher><![CDATA[IBU Publishing]]></dcterms:publisher>
    <dcterms:date><![CDATA[2013-05-03]]></dcterms:date>
    <dcterms:extent><![CDATA[1913]]></dcterms:extent>
</rdf:Description><rdf:Description rdf:about="https://omeka.ibu.edu.ba/items/show/1861">
    <dcterms:title><![CDATA[Place Deixis in English]]></dcterms:title>
    <dcterms:abstract><![CDATA[Key words: deixis, reference, demonstratives, pointing  ABSTRACT  The paper discusses English deictic expressions, the way they refer to various spatial dimensions, as well as different aspects and manifestations of place deixis in English. Such expressions, often accompanied by pointing or otherwise gestures, are anchored to their context of use, and their interpretation depends on both the speaker’s intentions and their linguistic and extralinguistic components. These expressions are usually pronouns and place and time adverbs. The paper also discusses a deictic center and its key role in understanding the relationship between the interlocutors and the objects of their conversation. It is deictic expressions that enable us create a mental picture of a discourse and follow its logic and development.]]></dcterms:abstract>
    <dcterms:publisher><![CDATA[IBU Publishing]]></dcterms:publisher>
    <dcterms:date><![CDATA[2013-05-03]]></dcterms:date>
    <dcterms:extent><![CDATA[1825]]></dcterms:extent>
</rdf:Description><rdf:Description rdf:about="https://omeka.ibu.edu.ba/items/show/1862">
    <dcterms:title><![CDATA[Acquisition of Syntax in Turkish]]></dcterms:title>
    <dcterms:abstract><![CDATA[Key words: acquisition, syntax, morpho-syntax, Turkish, learning  ABSTRACT  Syntax investigates the rules of functions of the words in sentences and how words form a meaningful sentence in an order (Galda et al., 1997: 27;), while morphology investigates organization and formation of words (Yavuz and Balcı, 2011) and the order of the morphemes. In Turkish, morphemes gain inflectional or derivational features in a word in a sentence or this one single word might be a sentence on its own. It is difficult to separate morphology from syntax in Turkish, since Turkish is inflected, agglutinative and allowing diversion via free word-order. Inflectional morphology constitutes a relationship between sentence formations (Penke, 2012). Thus the aim of this study is to investigate morpho-syntax acquisition and development of language of Turkish infants; i.e. what types of words are observed in morpho-syntax acquisition in Turkish infants and at which stage syntax acquisition can be followed. As methodology, empirical data which is longitudinal data of a child called Özge starting from the age of 1:4.26 to 2:04.14 from CHILDES, in addition to some sample data of the longitudinal study of Ekmekçi (1979) that was showed in the study of Ekmekçi and Can (2000) on Turkish language acquisition. As a result, the last phases of one-word stage is the start for syntax acquisition, an early acquisition period; and nouns and verbs both are observed for the use of morpho-syntax stage.]]></dcterms:abstract>
    <dcterms:publisher><![CDATA[IBU Publishing]]></dcterms:publisher>
    <dcterms:date><![CDATA[2013-05-03]]></dcterms:date>
    <dcterms:extent><![CDATA[1749]]></dcterms:extent>
</rdf:Description><rdf:Description rdf:about="https://omeka.ibu.edu.ba/items/show/1863">
    <dcterms:title><![CDATA[Milton&#039;s Paradise Lost: Originally Traditional; Traditionally Original]]></dcterms:title>
    <dcterms:abstract><![CDATA[Key words: Milton, Paradise Lost, Biblical, Originality, Imagery  ABSTRACT  John Milton is one of the most prominent figures of the seventeenth-century not only with his prose, poetry, political works, and literary criticism but also with his theological works. Milton draws on the Bible both in his prose works, such as in his divorce pamphlets, and in his poetry. He lived in an era when the Bible was in more popular use , perhaps, than at any other time in English history; “During the English Civil War, soldiers carried a Bible into Battle; before entering the fray, they sang its psalms; before bedtime, parents recounted its narratives; during parliamentary conflicts, proponents cited its verses. The bible was used in Parliament, in pamphlet wars, in education, in courtship and in conversation to an extent that is hardly imaginable today” (Schwartz qtd. in Corns 37). Besides, his personal religious convictionscombined with the fact that he could rely on his audience to pick up biblical allusions easily. This is why, like many other writers and poets, Milton based most of his works on biblical narratives.  In the first Book of Paradise Lost Milton states his purpose explicitly: “To justify the ways of God to men” (I. 26). In this work, in spite of basing his epic on biblical narratives, Milton creates “a deeply traditional and a boldly original poem” (Abrams 1475). Sticking to classical traditions while trying to be original at the same time was the major difficulty Milton faced writing Paradise Lost. This article intends to analyse the difficulty the author faced in two distinct aspects: The first one is the maintenance of decorum with biblical characters, and the second one is the achievement of originality while retelling biblical stories from Genesis.]]></dcterms:abstract>
    <dcterms:publisher><![CDATA[IBU Publishing]]></dcterms:publisher>
    <dcterms:date><![CDATA[2013-05-03]]></dcterms:date>
    <dcterms:extent><![CDATA[1974]]></dcterms:extent>
</rdf:Description><rdf:Description rdf:about="https://omeka.ibu.edu.ba/items/show/1864">
    <dcterms:title><![CDATA[Don DeLillo’s White Noise: Whitere is the Postmodern Consumerist Condition Taking the People?]]></dcterms:title>
    <dcterms:abstract><![CDATA[Key words: consumerism, human identity, postmodern, White Noise, Don DeLillo  ABSTRACT  DeLillo’s sturdy, lyrical, precise novels are considered classics of American postmodern literature. First published in 1984, White Noise by Don DeLillo is concerned with the emergence of technology, the power of images, popular culture, and the pervasiveness of the media. The influence of DeLillo’s brief experience with advertising is clearly observed in many of his works, particularly White Noise, which deals with product placements and commercials and mirrors the author’s sensitivity to the power of consumerism. Consumerism also has serious effects on people&#039;s identity; it has the capability to shape it with possessions: what a person wears, where one lives, to what extent does one fit the social and political stereotypes of one’s gender all culturally determine who one is. This postmodern identity gets complicated by technology—since the dialogue of television affects the people&#039;s consciousness, they relate their lives more to the media than to reality per se; people use the media to specify other groups of people as the “enemy” or as the “other.” DeLillo maintains that consumerism and technology have oddly disembodied the physical body; he implies that materialism is the basis of human identity. DeLillo views the human subject as being further disembodied by the penetration of death and disaster in postmodern American culture. He also sees that technology has complicated the human body and identity to such an extent that everything must be deciphered, even ourselves. White Noise is concerned with the extremes and limits of this culture. According to DeLillo, in the late twentieth century, consumerism and materialism have become the mediums through which people identify one another in life as well as death. In White Noise, Don DeLillo presents a clear picture of the postmodern toxic world in which people are not provided with any real certainty, but rather with a fear of death and fatal diseases. This paper is an attempt to trace the negative effects of consumerism on people in the postmodern condition in Don DeLillo’s White Noise.]]></dcterms:abstract>
    <dcterms:publisher><![CDATA[IBU Publishing]]></dcterms:publisher>
    <dcterms:date><![CDATA[2013-05-03]]></dcterms:date>
    <dcterms:extent><![CDATA[1842]]></dcterms:extent>
</rdf:Description><rdf:Description rdf:about="https://omeka.ibu.edu.ba/items/show/1865">
    <dcterms:title><![CDATA[A Postmodern Approach to Sam Shepard’s Dramatic Dilemma]]></dcterms:title>
    <dcterms:abstract><![CDATA[Key words: fragmentation, dramatic dilemma, postmodernism, popular culture, Sam Shepard  ABSTRACT  The American dramatist, Sam Shepard has now gained a reputation as one of the icons of the postmodern aesthetics, actively engaged in American stage. In his plays, he traverses the modernist borders of logic, order and social coherence in order to picture a fractured mythic and cultural territory, filled with disintegration, loss of identity and bafflement. In some of his best dramatic works, he artistically portrays heroes who struggle to preserve their old self, while being inevitably entangled within the challenging games and rules of a wholly postmodern condition.This paper attempts to analyze the various interpretive dilemmas and tensions in Shepard’s writings which can be seen as representing an unresolved conflict between modernist and postmodernist perspectives on such issues as fragmentation of language, nature of subjectivity and the search for coherence and meaning in mass culture. In doing so, attempts have been made to demonstrate how this challenging shift form modernist high arts to postmodernist embracing commercial forms, suggested in Shepard’s discourse of popular culture, is marked by an awareness of the latter’s limitations and obstacles and would ultimately reveal an ambivalence toward postmodernism itself .This undertaking will be an endeavor to answer these key questions:  How is the erosion of distinction between high and popular culture, rendered in the conflict and tension among characters in the play? How are the dark possibilities of postmodern fractured discourse contrasted with the modernist notion of a centered and unified language? How do the plays impart the postmodern sense that subject is constituted in language and discourse? One of the key points of departure between Modernism and postmodernism is marked by an erosion of the distinction between high art and popular culture while the ruling ideas of critical orthodoxy and aesthetic value have fallen into disrepute. In this regard, Shepard as a writer for whom the discourse of popular culture assumes a richness and variety and whose material is drawn from the fabrics of popular culture serves as a perfect example of an author whose work tends to delve deeper into this rapture. This is the undertaking, which is to be followed, alongside with the issue of subjectivity which would be tackled in the light of Fredrick Jameson’s discussion of subjectivity]]></dcterms:abstract>
    <dcterms:publisher><![CDATA[IBU Publishing]]></dcterms:publisher>
    <dcterms:date><![CDATA[2013-05-03]]></dcterms:date>
    <dcterms:extent><![CDATA[1838]]></dcterms:extent>
</rdf:Description><rdf:Description rdf:about="https://omeka.ibu.edu.ba/items/show/1866">
    <dcterms:title><![CDATA[W. G. Sebald&#039;s Austerlitz and the Emigrants: Suffering Absorbed into the Setting of Human History]]></dcterms:title>
    <dcterms:abstract><![CDATA[Key words: suffering, history, Austerlitz, The Emigrants Bushehr  ABSTRACT  History can be viewed both as a science and a form of remembrance. This means that it is an experience which has the capacity of bringing the past into presence while keeping the two in tension. The tension is due to the fact that remembrance makes the forgotten events in the past appear in the present through disruption. Therefore, remembrance is an experience that does not allow us to see history as a cumulative. Not only does it force its invincible story to fragment but our very existence as responses to the suffering in the past is refashioned. This is what happens in Sebald’s works. The reader is placed in a position to remember events of ruined lives, thus preventing us to see history as progress without ruins and destruction; this, in turn, calls into question our own tranquility. The Emigrants interrupts the flow of history by depicting the protagonists’ attempted homecomings, only to find mere ruins of their personal histories. Here Sebald has a retrospective look into the silent and pervasive presence of the traumatic legacy of unspoken horror. The Emigrants seems to be a kind of album dedicated to the lives and sufferings of people who surely would have otherwise been forgotten. The next work, Austerlitz, illustrates an adult expected to reconstruct his forgotten origins in order to discover his true identity. It is novel about the delayed and deferred sufferings of an orphan. It can also be regarded as critique of European social history. Here the protagonist tries uselessly to recall his own life, but cannot eradicate the fifty years of not remembering, driving him to increasing despair. Sebald’s works are concerned to a great degree with the suffering body. The slight shift of perspective brought about by physical pain is both the driving force and the structural principle of Sebald’s narratives. This paper is an attempt to examine how W. G. Sebald&#039;s narrative establishes the interrelation between history and suffering.]]></dcterms:abstract>
    <dcterms:publisher><![CDATA[IBU Publishing]]></dcterms:publisher>
    <dcterms:date><![CDATA[2013-05-03]]></dcterms:date>
    <dcterms:extent><![CDATA[1904]]></dcterms:extent>
</rdf:Description><rdf:Description rdf:about="https://omeka.ibu.edu.ba/items/show/1867">
    <dcterms:title><![CDATA[A Leap into Interculturalism Tom Stoppard&#039;s Indian Ink]]></dcterms:title>
    <dcterms:abstract><![CDATA[Key words: Interculturalism, drama, transculturation, deconstruction, hybridity  ABSTRACT  Interculturalism as “the[n] the latest avant-garde [...] which has set up a dialectic between a source culture and a target culture” (Singleton, 1995: 162) has been more manifest in dramatic texts and theatrical performances since the 1980s. Even though early intercultural plays and/or theatre have been dismissed as Eurocentric and problematic in regards to how they represent their respective source/foreign cultures (cf. Pavice, 1992; Singleton, 1995; Sakelleridou, 1995), there have been instances of „leaps‟ into intercultural theatrical practices, such as Tom Stoppard‟s Indian Ink (1995), that exploit diverse strategies in their attempt to provide a less partial portrayal of foreign cultures and the proceedings of transculturation.  By focusing on the characterisation of three distinct groups of characters (Indians, Anglo-Indians and British), on the language-games played by the protagonists Flora Crew and Nirad Das, and on the symbolism of Flora‟s portraits, the paper looks into the very strategies Stoppard uses to deconstruct not only the stereotypical representations of the Other, but also notions of a homogenous and “pure” culture.]]></dcterms:abstract>
    <dcterms:publisher><![CDATA[IBU Publishing]]></dcterms:publisher>
    <dcterms:date><![CDATA[2013-05-03]]></dcterms:date>
    <dcterms:extent><![CDATA[1778]]></dcterms:extent>
</rdf:Description></rdf:RDF>