Open Access

Tatjana Pišković

• Govorni se činovi najlakše prepoznaju i razgraničuju u dijalogu pa su dramski tekstovi vrlo pogodni za analizu i propitivanje teorije govornih činova. Krležinoj drami U agoniji možemo pristupiti kao korpusu za oprimjerenje konstativnoga i performativnoga shvaćanja jezika. U toj se drami sukob doista gradi na oprečnome shvaćanju jezika, a to se i verbalno eksplicira, pa se drama odvija na svojevrsnoj metajezičnoj razini gdje se glavni karakteri “svađaju” zato što govore različitim jezicima. Govorni činovi u drami, posebice komplimenti, analizirani su i s aspekta feminističke lingvistike.
• Speech acts are most easily identified and differentiated in dialogue, therefore play texts seem quite convenient for analysing and investigating the theory of speech acts. Miroslav Krleža’s play In Agony may be approached as corpus for illustrating both the constative and the performative conception of language. The conflict between the characters of the given play indeed arises out of their opposing conceptions of language. The drama therefore takes place on the level of meta-language; the main characters “argue” because they speak different languages. The speech acts in the play (particularly compliments) have been analysed from the perspective of feminist linguistics.