13 research outputs found
Catchphrases in the language of the media
Media communication has been the subject of various scientific and professional analyses,
first and foremost due to the influence it has on the society and on individuals. Aside from
the content of the message, which has recently been in the focus of communication and
media expertsā attention, linguists are particularly interested in its linguistic aspect at all
its normative levels: from the level of correct spelling and pronunciation to the level of
grammar and style. Although there are no real or standardized media communication rules,
media communication is expected to use the standard language. The standard language
is therefore the language sui generis, a sort of a super variety āthat is considered by the
speakers to be the most appropriate choice of language in official communication (Trask,
2005), which media communication most certainly is. The reasons for this are twofold: (1)
due to the specificity of their profession, media officials communicate with speakers of
different language varieties and the standard language serves as a kind of cohesion element,
and (2) media discourse has great influence on linguistic consciousness, particularly on the
language culture of the members of a particular linguistic community.
Since it is a part of public communication, media language should possess qualities of
choice and high style, which as a rule excludes the use of catchphrases. They are a signature
of poor rhetoric style and frequently serve as āancillary words in live speechā (VrljiÄ, 2007).
Catchphrases are unnecessary at both semantic and syntactic levels; they carry no meaning
or content and therefore their use can have a detrimental effect on both the expressive and
impressive levels of the message. The organization of speech units is hindered by the usage
of catchphrases and their excessive use can cause fatigue in the listener and the incorrect
receival of the message
Å jora Vinka gre u spizu: Govor grada Splita u kratkim priÄama Dunje KaliliÄ
Mnoga su djela hrvatske dijalektalne književnosti iznimno važna, kako s aspekta književnosti, tako i s aspekta dijalektologije. Splitskim su govorom dosad pisali poznati i manje poznati autori, a i u novije se vrijeme nahode veoma zanimljiva dijalektalna djela na tome govoru. Dunja KaliliÄ, plodna autorica koja njeguje dijalektalno pisanje, objavila je 26 kratkih priÄa 2009. u knjizi Å jora Vinka gre u spizu, koje govore o svakodnevici jedne žene. U radu se izdvajaju i analiziraju jeziÄne posebnosti tih kratkih priÄa na svima Äetirima jeziÄnim razinama te se zakljuÄuje da je spisateljica dobro preslikala jeziÄno stanje starijega naraÅ”taja SpliÄana, Äime se ujedno promiÄe splitski govor i pridonosi njegovu oÄuvanju
Artificial Intelligence in Communication with Music Fans: An Example from South Korea
According to Kotler, Kartajaya, and Setiawan, there are five components of marketing 5.0: it is data-driven, predictive, contextual, augmented, and agile. This paper uses the case study method to investigate the presence of the 5.0 marketing components in promotional strategies employed by the South Korean popular music industry. The paper explores promotional strategies used by the BTS music group in particular. The group uses the 5.0 marketing method in its promotional strategies, especially in communication with the fans, and such communication thus enters the field of public relations. The case study analysis also indicates the use of data-driven marketing and predictive analytics, which are achieved using artificial intelligence. Additionally, elements of contextual marketing were used to improve the consumer experience, and augmented marketing was utilized to facilitate business, especially for front office staff. Finally, the analysis of BTS\u27s promotional strategies shows a focus on innovation and flexibility, which are elements of agile marketing
Å jora Vinka gre u spizu: Govor grada Splita u kratkim priÄama Dunje KaliliÄ
Mnoga su djela hrvatske dijalektalne književnosti iznimno važna, kako s aspekta književnosti, tako i s aspekta dijalektologije. Splitskim su govorom dosad pisali poznati i manje poznati autori, a i u novije se vrijeme nahode veoma zanimljiva dijalektalna djela na tome govoru. Dunja KaliliÄ, plodna autorica koja njeguje dijalektalno pisanje, objavila je 26 kratkih priÄa 2009. u knjizi Å jora Vinka gre u spizu, koje govore o svakodnevici jedne žene. U radu se izdvajaju i analiziraju jeziÄne posebnosti tih kratkih priÄa na svima Äetirima jeziÄnim razinama te se zakljuÄuje da je spisateljica dobro preslikala jeziÄno stanje starijega naraÅ”taja SpliÄana, Äime se ujedno promiÄe splitski govor i pridonosi njegovu oÄuvanju
Public Relations Principles for the Digital Communication in a Local Crisis
In dealing with the crisis, all institutions must react and urgently solve the problem, but a special challenge is to communicate with key publics, especially those publics that have suffered damage., What is imperative for public relations is fast and two-way communication. That is why digital platforms are indispensable in crisis communication because they enable almost simultaneous reaction and enable institutions to communicate directly with the affected public, without the mediation of information media. This paper aims to analyse the crisis communication of the City of Slavonski Brod through its official website and Facebook page during water pollution in March and April 2018. The analysis was performed by methods of qualitative content analysis and a case study analysis. During the environmental incident, the City of Slavonski Brod did not communicate following the PR principles of crisis communication nor took advantage of digital communication
Hrvatski jeziÄni standard u jeziku javne komunikacije Uloga medija u oblikovanju hrvatske jeziÄne svijesti i kulture
Iako u Hrvatskoj nije zakonski utvrÄeno Å”to sve pripada domeni javne komunikacije, nedvojbeno je da je medijski ili publicistiÄki diskurs neizostavni dio javne komunikacije pa bi kao takav trebao poÅ”tivati odreÄena komunikacijska i jeziÄna pravila utvrÄena normativnim priruÄnicima. Bez obzira Å”to ni jedan od priruÄnika koji se bavi jeziÄnom/govornom problematikom nema status "obaveznog" pri jeziÄnom/govornom oblikovanju poruke koja se odaÅ”ilje medijskim kanalima ā tiskom, radiom, televizijom ili internetom ā implicitno je odreÄeno da se medijska poruka usklaÄuje sa standardnojeziÄnom normom hrvatskoga jezika. JeziÄna analiza hrvatskoga medijskog diskursa pokazuje sve veÄi stupanj otklona od standardnojeziÄnih normi koji se primarno kreÄu u dva smjera: priklanjanju raznovrsnim razgovornim oblicima hrvatskoga jezika i āanglizacijiā hrvatskoga leksiÄkoga korpusa
KuhaÄ\u27s Travel Account on West Hungarian Croats in the Context of Earlier Philological and Ethnographic Research
U putopisima hrvatskoga romantizma dominira domovinski itinerarij, zanimanje za jezik, obiÄaje, kulturnu battinu i nacionalnu povijest. SlijedeÄi ideologiju hrvatskih romantiÄarskih putopisaca, utemeljenu na afirmaciji hrvatskih nacionalnih vrijednosti, KuhaÄ ciljem putovanja postavlja potragu i proÅ”irenje spoznaja o životu i kulturi zapadnougarskih Hrvata i posredovanje novih spoznaja matiÄnoj sredini. Putopisne reminiscencije s gradiÅ”Äanskohrvatskoga govornog podruÄja KuhaÄ je objavio u Viencu 1878. u putopisnom obliku i namijenio Å”irokoj Äitateljskoj publici. Iako je KuhaÄev putopis prema dominantnom tipu diskurza bliži znanstvenom putopisu, pokazuje i neka izrazito literarna obilježja. Iz svojih putopisnih bilježaka priopÄuje ono Å”to može zanimati Å”iru Äitateljsku publiku te uz brojne rezultate etnografskog, lingvistiÄkog i topografsko-statistiÄkog istraživanja, KuhaÄ vjeÅ”to pripovijeda o susretima i doživljajima na putovanju. Osim pronicljivog promatraÄa, KuhaÄ je vjeÅ”t pripovijedaÄ. Njegovo pripovijedanje s nizom zanimljivih potankosti i duhovitim komentarima Äini njegove putopisne reminiscencije osobito zanimljivima za Äitatelje. Zanimanje za hrvatski narodni život i obiÄaje te smjer Å”to ga je skupljanje, objavljivanje i vrednovanje narodnog stvaralaÅ”tva zadobilo u vrijeme ilirizma, zadržali su se tijekom cijelog 19. stoljeÄa. Hrvatska kulturna sredina u drugoj polovici 19. stoljeÄa veÄ posjeduje odreÄena znanja o Hrvatima u susjednim zemljama i njihovoj kulturnoj baÅ”tini, zahvaljujuÄi svjedoÄanstvima brojnih hrvatskih intelektualaca, istraživaÄa i sakupljaÄa narodnoga blaga. KuhaÄ svojim istraživaÄkim radom i prikupljenom graÄom nastavlja put koji su zapoÄeli Stanko Vraz, Ivan KukuljeviÄ Sakcinski i Fran Kurelac, proÅ”irujuÄi i upotpunjujuÄi znanja hrvatske kulturne sredine o zapadnougarskim Hrvatima.
Prvi je istraživaÄ koji je uz gradiÅ”Äanskohrvatske pjesme zabilježio i napjeve te ih kasnije uvrstio u svoje opsežne zbirke Južnoslovjenskih narodnih popievaka (I.-IV.), tiskane u Zagrebu od 1878. do 1881. Zajedno s Kurelcem utirao je put sustavnom istraživanju pjesama gradiÅ”Äanskih Hrvata, a njegov rad je važno svjedoÄanstvo s obzirom da se moguÄnosti istraživanja hrvatskih narodnih manjina iz dana u dan mijenjaju i nestaju na odreÄenim podruÄjima. IstraživaÄkim rezultatima i spoznajama, koje temelji na vlastitom iskustvu i kritiÄkom odnosu prema izvorima, stvara vrijedne temelje za daljnja istraživanja kulture i povijesti gradiÅ”Äanskih Hrvata.In 1878, Franjo Ksaver KuhaÄ published his travel reminiscences about the Burgenland Croatian-speaking area, in Vienac [a Croatian literary magazine] entitled Medju ugarskimi Hrvati (putopisna crta), [Among Hungarian Croats ā A Travelogue]. Although the purpose of his journey among the Hungarian Croats was purely scientific, he published the results of his research in travelogue form and intended it for a wide reading audience. The travelogue was published serially in Vienac, in eight issues, in October and November 1878. KuhaÄās choice of travel is an indication of his enlightened patriotism and patriotic orientation and of the ideological framework of his views. During the period of Croatian Romanticism, travelogues were dominated by homeland itineraries and an interest in language, culture, customs, cultural heritage and national history. Following the ideology of Croatian Romantic travel writers, founded on the affirmation of Croatian national values, the goals KuhaÄ set for his journey were to search for and broaden insights into the life and culture of Croats living outside the national borders, and to communicate these new insights to the parent nation.
Examining KuhaÄās work within the framework of earlier studies and findings, it should be said that, although neither national minorities nor their circumstances were ever publicly discussed or written about in a multinational state such as Austria or Hungary, in the second half of the nineteenth century the Croatian cultural milieu had certain knowledge about the cultural heritage of the Burgenland Croats. With his research and collected material, KuhaÄ followed in the path of Stanko Vraz, Ivan KukuljeviÄ Sakcinski and Fran Kurelac, broadening and supplementing the knowledge the Croatian motherland had about West Hungarian Croats, as well as promoting consciousness of the interconnectedness of the Croatian cultural heritage at home and abroad. With these research results and insights, based on his personal experiences and critical attitude towards sources, KuhaÄ laid valuable groundwork for further investigation of these issues
Hrvatski jeziÄni standard u jeziku javne komunikacije Uloga medija u oblikovanju hrvatske jeziÄne svijesti i kulture
Iako u Hrvatskoj nije zakonski utvrÄeno Å”to sve pripada domeni javne komunikacije, nedvojbeno je da je medijski ili publicistiÄki diskurs neizostavni dio javne komunikacije pa bi kao takav trebao poÅ”tivati odreÄena komunikacijska i jeziÄna pravila utvrÄena normativnim priruÄnicima. Bez obzira Å”to ni jedan od priruÄnika koji se bavi jeziÄnom/govornom problematikom nema status "obaveznog" pri jeziÄnom/govornom oblikovanju poruke koja se odaÅ”ilje medijskim kanalima ā tiskom, radiom, televizijom ili internetom ā implicitno je odreÄeno da se medijska poruka usklaÄuje sa standardnojeziÄnom normom hrvatskoga jezika. JeziÄna analiza hrvatskoga medijskog diskursa pokazuje sve veÄi stupanj otklona od standardnojeziÄnih normi koji se primarno kreÄu u dva smjera: priklanjanju raznovrsnim razgovornim oblicima hrvatskoga jezika i āanglizacijiā hrvatskoga leksiÄkoga korpusa
Theatrical staging of Krleža's Kraljevo
Disertacija KazaliÅ”na uprizorenja Krležina Kraljeva podijeljena je u tri cjeline: prva i druga cjelina su povijesno-teorijskog karaktera, a u njima se iznose specifiÄnosti Kraljeva kao dramskoga teksta s naglaskom na novine koje Krleža uvodi u dramu u odnosu na dotadaÅ”nju dramsku praksu. Kako se u prvom dijelu rada polazi od hipoteze da Kraljevo, unatoÄ autorovim nastojanjima, nije bilo moguÄe izvesti na pozornici u vrijeme i neposredno nakon nastanka drame, u nastavku disertacije analizira se dramska tradicija u Hrvatskoj krajem IX. i poÄ. XX. stoljeÄa, ne bi li se pokazalo da Kraljevo nastaje u, za tu dramu, nepoticajnom dramskom okružju. Prva dva dijela disertacije takoÄer obuhvaÄaju i prikaz stanja u kazaliÅ”tu od njegova nastanka pa do Krležine pojave na literarnoj sceni, kazaliÅ”ni repertoar od 1914. do 1918. (vrijeme kada Krleža intenzivno pokuÅ”ava svoje prve drame dovesti do uprizorenja) kao i kazaliÅ”ne teorije koje su mogle poslužiti kao inspirativna ishodiÅ”ta za uprizorenje Kraljeva u vrijeme nastanka te drame. RasvjetljujuÄi literarno-repertoarno-kazaliÅ”ni kontekst u kojem je drama situirana, stvara se podloga za srediÅ”nji i temeljni dio doktorskoga rada ā rekonstrukciju kazaliÅ”nih izvedaba Kraljeva. Taj treÄi dio disertacije je komparativno-analitiÄki, a obuhvaÄa analizu kazaliÅ”nih uprizorenja Kraljeva: od prvog DediÄeva uprizorenja 1955. u Beogradskom dramskom pozoriÅ”tu do posljednjeg ProhiÄeva 2009. u Hrvatskom narodnom kazaliÅ”tu u Zagrebu. Rekonstrukcija kazaliÅ”nih izvedaba polazi od komparativne analize teksta drame i izvedbenoga teksta do analize temeljnih sastavnica kazaliÅ”noga Äina: organizacije scene, glumaÄkih interpretacija, uloge glazbe, kostima, scenskih rekvizita i sl., a omoguÄavaju je saÄuvani povijesni izvori: slikovni, zvukovni i pisani. Glavni je cilj disertacije bio istražiti Å”iri književni i kazaliÅ”ni kontekst u kojem djeluje mladi Krleža, analizirati aktualne europske kazaliÅ”ne modele imanentne dramskoj teksturi Kraljeva, potom rekonstruirati razliÄite redateljske pristupe istome tekstu, a na koncu i odrediti ulogu i utjecaj dramskoga autora na stvaranje teksta izvedbe.The thesis entitled Theatrical staging of Krleža's Kraljevo consists of three chapters. The first and the second chapter are of a historical-theoretical nature and speak of the specificity of Kraljevo as a dramatic text, stressing the novelties introduced by Krleža into the drama as compared to the dramatic practices of the day. Since the first part of the thesis starts from the hypothesis that Kraljevo, despite a great effort made by the author, was impossible to perform on stage at the time when this drama was written, as well as immediately following the drama's creation, the thesis goes on to analyze the dramatic tradition in Croatia at the end of the 19th and in the beginning of the 20th century. The goal of this is to show that Kraljevo was created in less than stimulating dramatic circumstances as far as the aforementioned drama is concerned. The first two parts of the thesis also give a representation of the conditions permeating the theater since its creation to the appearance of Krleža on the literary scene, the theatre repertoire from 1914 until 1918 (the time period when Krleža was trying extremely hard to ensure the staging of his first two dramas) as well as the theatrical theories which could have served as inspirational starting points for the setting of Kraljevo at the time when the drama was created. By shedding some light onto the literary, repertoire and theatrical context in which the drama was located, the basis for the middle and fundamental part of the thesis is created ā the reconstruction of the theatrical performances of Kraljevo. This is the comparative and analytical segment of the thesis which encompasses the analysis of the theatrical settings of Kraljevo, starting with the very first adaptation made by DediÄ in 1955 at the Belgrade dramatic theatre and ending with the last adaptation, made by ProhiÄ in 2009 and performed at the Croatian National Theatre in Zagreb. The reconstruction of the theatrical performances ranges from the comparative analysis of the dramatic text and the performed text to the analysis of the basic components of the theatrical act; scene organization, performances of the artists, the role of music, costumes, props, and so on. This analysis is made possible by the preserved historical sources; pictorial, auditory and written. The main goal of the thesis was to explore the wider literary and theatrical contexts in which the young Krleža operated, to analyze the then current European theatrical models inherent to the dramatic structure of Kraljevo and, in the end, to reconstruct the various directorial approaches to the same text. Finally, our goal was also to determine the role and the influence a dramatic author has on the creation of the performed text
Folklore, folk tradition and childhood in dramatic structure of Krležaās Kraljevo
U preko 95 godina postojanja Krležina Kraljeva analizirani su razni dramsko-scenski elementi drame i autorov specifiÄan doživljaj suvremenoga svijeta pretoÄen u dramsku formu pri Äemu se gotovo redovito naglasak stavljao na avangardno-ekspresionistiÄke novine koje je autor ugradio u djelo zbog kojih se i drama na dugi niz godina udaljila od scenske realizacije. U analizama i osvrtima pri tome su se Äesto ispuÅ”tali elementi narodnih obiÄaja i vjerovanja te autobiografski elementi koje je autor ugradio u dramu kojom Äe pomaknuti granice dotadaÅ”nje hrvatske dramaturgije i postaviti nove estetsko-dramske (i scenske) zakonitosti. U radu Äe se analizirati upravo oni elementi koji Kraljevo povezuju s tradicijom puÄkih igrokaza, narodnom kulturom i folklornim obiÄajima kao i utjecaji autorova djetinjstva i slika iz proÅ”losti koje nalazimo interpolirane u dominantno ekspresionistiÄkoj strukturi djela.In the 95 years since Krleža wrote Kraljevo, various dramatic and scenic elements of the play have been analyzed and the author\u27s specific view of the contemporary world was expressed in the form of a play. During that time, the accent was almost always put on the vanguard and expressionist novelties introduced by the author into his work, causing the play to be absent from the stage for a long time. The analyses and the reviews frequently omitted various elements of folk culture and beliefs as well as numerous autobiographical elements, embedded by the author into this play, which pushed the limits of the Croatian dramaturgy and set the new esthetic, dramatic (and stage) boundaries. The paper studies elements which connect Kraljevo to the tradition of folk plays, folk culture and folk customs as well as the influences of the author\u27s childhood and images from the past which we come across and which are embedded into the dominantly expressionist structure of the play