RAZPRAVE -- ARTICLES
Franc Zadravec, Capudrov fiktion-fakt politični roman -- Capuder's Fact-Fiction Political Novel
Jože Toporišič, Teoretična podstava slovarja novega SP -- The Theoretical Basis of the Dictionary of the New Slovene Orthography
Miran Košuta, Rebulizmi (10 ključnih gesel iz književno-ontološkega besednjaka Alojza Rebule) -- Rebulisms (10 Key Entries from the Literary and Ontological Lexicon of Alojz Rebula)
Marko Snoj, Naglaševanje praslovanskih -y/-#159v-osnov ženskega spola -- The Accentuation of Proto-Slavic Feminine -y/-#159v-stems
Silvija Borovnik, "Rdeče češnje rada jem, črne pa še rajši" (Med "ženskim" in ženskim v pesniški besedi Svetlane Makarovič) -- "I Like to Eat Red Cherries, But I Prefer Black Ones" (Between the "Feminine" and the Feminine in the Poetry of Svetlana Makarovič)
Viktor Majdič, Slovenski izkrajevnoimenski pridevniki -- Slovene Adjectives Formed from Place Names
Jožica Škofic, O oblikovanju slovenskega pogovarjalnega jezika -- On the Formation of a Slovene Colloquial Language
OCENE -- ZAPISKI -- POROČILA -- GRADIVO
REWIEWS -- NOTES -- REPORTS -- MATERIALS
Frederik Kortlandt, O naglasnih znamenjih v Brižinskem spomeniku I -- On Accentual Markings in the Freising Folia
Han Steenwijk, Tine Logar: Slovenska narečja -- Tine Logar: Slovene Dialects
Adriana Krstič, William W. Derbyshire: A Basic Reference Grammar of Slovene
Jožica Narat, Zgodovinska slovaroslovno-slovaropisna monografija V. Blanárja -- A Historical Lexicographical Monograph by V. Blanár
Dragi Stefanija, Ob smrti Blažeta Koneskega -- An Obituary for Blaže Koneski
Alenka Logar - Pleško, Anka Sollner - Pedrih, Bibliografija Matjaža Kmecla ob šestdesetletnici -- The Bibliography of Matjaž Kmecl on the Occasion of his 60th Birthday
UDK 886.3.09-31:929 Capuder A.
Franc Zadravec
Romana Rapsodija 20 (1982) in Iskanje drugega (1991) sta po snovi politična in ljubezenska, po balzakovski metodi vračanja epskih oseb med seboj povezana, vpeta pa sta v čas od konca prve svetovne vojne do sredine osemdesetih let. Drugi roman hoče razkriti duhovno in moralno podobo in držo slovenskega izobraženstva v času okupacije in revolucije. Ideološko prenapetost pa avtorju na primeru domobranstva in partizanstva popači etično mero pa se artistično dober tekst večkrat zniža na raven estetizirajoče publicistike.
The novels Rapsodija 20 (Rhapsody) (1982) and Iskanje drugega (Looking for Another) (1991) are in terms of their subject matter political and romance novels, connected to each other by using Balzac's method of recurring epic characters, taking place from the end of World War I do the the middle of the 1980's. The second novel attempts to uncover the spiritual and moral shape of the Slovene intellectual community during occupation and revolution. The ideological overzealousness using the examples of the collaborationist and partisan movements denigrates the ethical scope and frequently lowers an artistically good text to the level of aestheticized publicistic writing.
Zusammenfassung
Der Erzählstoff der Romane Rhapsodie 20 und Die Suche des Anderen ist ein Homo politicus und ein Homo eroticus, in beiden als Gefüge von Fiktion, Modell und nationalhistorischem Augenblick. Die epischen Hauptsubjekte des erstgenannten kommen von der slowenischen liberalen und teils kirchlichen Spitze, im letztgenannten stammen sie aus den beiden während der Okkupation und in der Revolution ideologisch entgegengesetzten Lagern. Hervorgehoben werden vor allem die beiden Brüder aus dem ersten Roman, die sich in der Frage des Kampfes gegen den Okkupanten und noch mehr in der Frage der sozialistischen Revolution wesentlich differenzieren. Da die slowenische Nachkriegsprosa den Befreiungskampf und die Revolution positiv bewertet hat, rehabiliert der Roman Die Suche des Anderen umso schärfer das Domobranzentum und die Kirche; das Partizanentum und die Revolution hingegen stellt er als Verbrechen am slowenischen Volk dar. Die Rehabilitierung geht jedoch eher ideologisch als ästhetisch vor sich: der Autor kann und will nicht zwei Götter ehren, den einen idealisiert er, den anderen entwertet er moralisch. Der ehemalige rote Dämon konvertiert und bereut in einer Mönchszelle, jedoch vertieft er sich nicht in das Geistige sondern sinkt ein in den katholischen Radikalismus. Die kulturelle Sensibilität des Schriftstellers und sein ethisches Maß sind dem Problem nicht gewachsen, dem sie das richtige, objektive, menschliche und historische Bild erkämpfen wollen.
Die Romane sind geistig anspruchsvolle Texte postmoderner Prosa, besonders der zweite ist eine technopoetische Komposition, eine Montage von Realität und einem phantastischen Filmdrehbuch. Der Autor ist nach den zahlreichen Zitaten wiederzuerkennen, die seine literarische und philosophische Bildung signalisieren, nach den scharfen satirisch- karikaturistischen Szenen und Dialogen, nach seinem stellenweise durchaus poetischen Stil sowie nach den ätzenden Akzentuierungen der Worte, Phrasen und geflügelten Worte aus der Revolutionszeit.
UDK 808.63-3:808.63-1
Jože Toporišič
K Slovenskemu pravopisu 1, Pravila (1990, 1994) gre še pripravljajoči se slovar. Ta bo obsegal 120 do 130 tisoč slovarskih sestavkov. Ti rešujejo pisno, izgovorno (oboje vključno z naglasom) slovnično in besedijsko normativno in stilistično problematiko (pomensko le v posebnih primerih), in sicer slovenskega besedja, nekaterih (stalnih) besednih zvez, poleg tega pa tudi oblikotvorno in besedospreminjevalno stilistiko. Prispevek podaja ustrezne rešitve na podlagi za to delo izbrane teoretične podstave normativnega priročnika, kakor je pri Slovencih v pravopisu tradicionalna.
The Slovene Orthography 1, Rules (1990, 1994) is to be accompanied by a dictionary, which is still in preparation. This dictionary will contain between 120,000 and 130,000 entries. These entries solve problems of spelling, pronunciation (both of these are treated accentually as well), grammar, normative and stylistic lexicon (definitions are give only in special instances); new Slovene words, some (fixed) collocations, as well as information on word-formational and inflectional stylistics are also given. The paper gives appropriate solutions on the basis of the theoretical approach of a normative handbook chosen for this work, as is traditional in Slovene orthography.
Summary
The Fran Ramovš Institute Slovene Language Institute of the Slovene Academy of Arts and Sciences is currently preparing the second part, a dictionary, of the Slovene Orthography (the first part, Rules, appeared in 1990 and this year is in its third edition).
Characteristics of the dictionary: There are between 120,000 and 130,000 mostly single-word entries; there is a small number of two- or multiple-word entries. Nouns, adjectives, verbs, predicatives and adverbs can also have subentries. Each dictionary article (and sub-entry sub-article) contains a heading and an explanatory/illustrative part. Each consists of a main heading and subheading. The main heading has an entry/sub-entry (and with inflected words also its principal parts), data on pronunciation (when it is not obvious from the spelling of the basic forms or from the entry itself, or else if it is difficult to predict); at the end of the heading the part of speech is indicated; non-word entries are marked with the appropriate indication of the status of the individual morpheme (or string of morphemes, etc.). The subheading gives the paradigmatically less- or unpredictable characteristics of word-formation or inflection, or otherwise the morphological type; it ends with citation of its tonemic accentuation, representing the tonemic stress pattern (dynamic stress is marked at the beginning of the entry and in other basic forms, if they exist).
The dictionary recognizes nine parts of speech: substantive (nouns are marked for gender, nominal pronouns are marked also for type /and class/), adjective (adjectives are marked indirectly for the three gender forms, numerals and adjectival pronouns also have their type /or class/ marked, adverb, predicative, conjunction, preposition, particle and interjection (with the appropriate markers). In addition to words and word-collocation (as well as symbolic) entries the dictionary takes into account formants (prefixes, infixes, affixes, postfixes...), abbreviations (npr.) and hyphenated forms (narodno-, -teoretični). Among the grammatical characteristics of entries (and subentries) the government (and other agreement) characteristics of, particularly, the verb, adjective and predicative, as well as the noun and, of course, the preposition, are taken into account.
Substantives are marked with respect to partitivity, as well as for the transformation of possessive syntagmas into substantive (prihod učencev 'the arrival of the students'); nouns are given with quantifiers of the type pet/dvoje/nekaj 'five/a couple/some' in the nom. and acc. with the quantifier as the head (pet dreves 'five trees'). The markings in the dictionary are: register (social, functional, temporal), style (emotional), normative, frequency, special and citational. In the explanatory part of the dictionary article all parts of speech (and their sub-parts) are found. The noun has some 14 illustrations of types (including proper names), the verb has 5 and the adverb 3. Illustrations are given for other grammatical words and parts of derivatives (as well as other things); in the case of borrowings the appropriate assimilated Slovene morphematics is given (if it exists). For geographical proper names the typical prepositions of place are also given. For example, the illustration given for nouns: (1) variation (mali c, dva c-ja 'small c, two c's'), (2) a better-known synomyn (camar, drug 'best man'), (3) differentiation of synonyms, homographs, similar-sounding words, (4) ordinal meanings (beji in ceji, 'b's and c's'), (5) grammatical (and other) peculiarities (number, phraseological usage, pluralia tantum, uncertainty with respect to capitalization, typical prepositional use, morphophonemic norm, partitivity), (6) count vs. mass, (7) precise placement with respect to semantic field (belci in barvanci 'whites and coloreds'), (8) government, (9) typical fixed expression, (10) taxonomy (listavci in iglavci 'deciduous and evergreen'), (11) stress peculiarities in fixed phrases, (12) change in grammatical marking, (13) semantic definition of symbols, (14) feminine surnames, their grammatical peculiarities, especially the expression of possession, location.
UDK 886.3.09:929 Rebula A.
Miran Košuta
Prispevek skuša zarisati ob avtorjevi 70-letnici človeški ter književno-ontološki profil Alojza Rebule s pomočjo esejističnega besednjaka desetih gesel, ki se zdijo v pisateljevem biosu in opusu poetološko ključna. Antika, Dante, vera, književnost, jezik, roman, slovenstvo, Trst in humanizem so namreč eksistencialije, mitemi, vrednote in poteze duhovno-leposlovnega obraza tržaškega pisca -- desetega in kajpada nepogrešljivega leksema v pričujoči zbirki rebulizmov.
The paper attempts to sketch the literary and ontological profile of Alojz Rebula on the occasion of his 70th birthday, using ten entries entries of the essayistic vocabulary that appear to be poetologically crucial to the biography and works of the writer. The ancient world, Dante, faith, literature, language, the novel, Slovenehood, Trieste and humanism are the existential elements, mythemes, values and characteristics of the spiritual and belletristic figure of the Trst writer--the word writer being the tenth and, of course, obligatory lexeme in the present collection of Rebulisms.
Sommario
Partendo dal presupposto che un globale ritratto storico-letterario dell' oggi settantenne scrittore sloveno Alojz Rebula -- autore di oltre 10 mila pagine narrative, saggistiche, biografiche, critiche, traduttive e teatrali, confluite in quasi 30 libri -- risulterebbe pressochè inattuabile nell' esiguo spazio di un saggio, il presente contributo tenta di coagulare l'universo creativo del romanziere triestino in un immaginario vocabolario artistico e ontologico di 10 lemmi-chiave rebuliani. Dopo aver ripercorso nella prima voce il vissuto bio-letterario di Alojz rebula, la ricerca individua come valori basilari e costitutivi del suo pensiero nonchè della sua prosa i concetti di classicità fede, letteratura, lingua, romanzo, slovenità e umanesimo che -- assommandosi all' influsso esercitato sull'autore dalla natale Trieste e dalla figura di dante -- determinano i temi, i motivi, i dilemmi, i contenuti, i messaggi, i significati e gli orientamenti stilistici delle sue principali opere, dai romanzi d' esordio Il ballo delle ombre e Nel vento della Sibilla a quelli piì recenti come Esilio verde, Domani passeremo il Giordano e La peonia selvatica. Ne scaturisce il ritratto critico di un rebula nostalgicamente innamorato del mondo classico, spassionato adotore di Dante e della sua "scientifica fantasia", razionale indagatore del mistero della fede, letterato-demiurgo di ispirazione fondamentalmente realista, ardito sperimentatore linguistico, romanziere par excellence, sloveno lacerato dai dubbi del vivere minoritario, autore nazionalmente oppresso ma nel contempo anche umanista erudito e cosmopolita. Sono questi in sostanza i principali tratti somatici dell'anima letteraria di Alojz rebula, scrittore sloveno triestino di cultura e levatura europee.
UDK 886.3.09-1:929 Makarovič S.
Silvija Borovnik
V poeziji Svetlane Makarovič opozarja slovenska literarna zgodovina na ostro inverzijo tradicije. Kljub temu pa, da pesnici sami delitev na moško in žensko v poeziji ni preveč pogodu, ostaja dejstvo, da Makarovičeva močno poudarja in osvetljuje prav element ženskosti, in to ne glede na to, iz katere tvarine jemlje svoje pesniške motive. Pričujoča študija skuša le-to osvetliti skozi troje pramenov: skozi njeno navezanost na pravljičnost, ljudsko pesništvo in mitološko osnovo. Ob pravljici je Makarovičeva poudarila predvsem njene prikrite elemente, ljudsko pesem pa je uporabila tako, da je razgradila ustaljene skladne slike. Pri tem je razgradila zlasti splošno razširjeno predstavo o ženski in njeni tradicionalni vlogi. Poezija S. Makarovič pa odseva tudi negativno, demonsko plat mitske podobe sveta, v kateri je človeški svet družba, ki zatira posameznika. Ženske S. Makarovič ostajajo sicer od doma pregnane desetnice, a tudi maščevalke in nagajivke s posebnim smislom za humor, obenem pa posebnice, ki s pesmijo preganjajo zlo.
Slovene literary scholarship points up the sharp inversion of literary tradition in the poetry of Svetlana Makarovič. Despite Makarovič's own displeasure at the division of poetry into male and female, the fact remains that in her poetry she strongly emphasizes and illuminates the element of femininity, regardless of the source of her subject matter. The present study attempts to shed light on this fact through three sources: her attachment to fairy tales, folk poetry and mythological foundation. With the fairy tale Makarovič has emphasized primarily hidden elements; she has used folk poetry to deconstruct fixed and coherent images. In doing this she has deconstructed in particular the generally received notion of woman and her traditional role. The poetry of S. Makarovič also reflects the negative, demonic side of the mythical image of the world, in which humankind is a society that oppresses the individual. Makarovič's women remain both waifs, cast out from hearth and home, as well as avengers and teasers with a special sense of humor; at the same time they are oddballs who banish evil with poetry.
Zusammenfassung
Svetlana Makarovič kann als dichterische Persönlichkeit von niemandem übersehen werden, der sich mit der zeitgenössischen slowenischen Literatur befaßt, insbesondere, wenn das Schaffen slowenischer Literatinnen und Autorinnen unter die Lupe genommen wird. Es gibt wenige Nationen, die in einer einzigen Person, ganz besonders einer weiblichen, eine derart allseitig begabte Wortkünstlerin aufbringen können: sie ist Lyrikerin, Schriftstellerin für Erwachsene und Kinder, Schauspielerin, Kabarettistin, Chansonsängerin, und dies in einer Zeit, die dem weiblichen Schaffen nicht sonderlich gewogen war, zugleich auch eine sehr mutige Autorin, die es gewagt hatte, einigen monopolistischen staatlichen Institutionen die Stirn zu bieten.
Die slowenische Literaturgeschichtschreibung weist auf die scharfe Inversion der Tradition in ihrer Lyrik (Paternu) hin oder bezeichnet sie als weibliche Parallele zur Lyrik von Dane Zajc und Gregor Strniša (Kos). Der Dichterin selbst behagt jedoch die Einteilung in "Weibliches" und "Männliches" nicht sonderlich. In ihren Interviews (Nova revija 1991/116) erwähnt sie vor allem die Ignoranz slowenischer Verlage ihr gegenüber als Frau und Künstlerin und sie weist darauf hin, daß sie als erste Dame der slowenischen Poesie so manche Konsequenz tragen mußte. Trotz der ausdrücklichen Verweigerung der Dichterin gegenüber einer männlichen oder weiblichen Dichtung und abgesehen von Untersuchungen, die die Frage stellen, ob eine geschlechtsspezifische Lyrik überhaupt existiere, läßt sich die Tatsache nicht leugnen, nen, daß Svetlana Makarovič das Element der Weiblichkeit intensiv thematisiert, es herausstreicht und durchleuchtet, unabhängig davon, welchem Stoff sie ihre dichterischen Motive entnimmt. Die vorliegende Untersuchung versucht die Thematisierung des Weiblichen in der dichterischen Welt Svetlana Makarovičs über drei Motivstränge: über ihr Verhaftetsein dem Märchenhaften, dem Volkstümlichen bzw. Volksliedhaften und ihre Bindung an eine mythische Grundlage.
In den ersten Gedichtsammlungen Svetlana Makarovičs findet man Motive, die die Verwandlung des Eingebürgerten andeuten, die Neigung zum Andersartigen und die Liebe zum Häßlichen und Verworfenen; schon sehr früh tritt auch die sehr empfindliche Figur der Außenseiterin auf, unter den veränderten, unmmärchenhaften Märchenfiguren Dornräschen als Vorgängerin der "zehnten Tochter/Schwester", die hinaus in die Welt muß, und all der anderen zahlreichen Frauenfiguren, die in ihren Gedichten den heimischen, sicheren Herd verlassen und die sich geächtet, jedoch widerständig und um den Preis der eigenen, unangepaßten weiblichen Freiheit ins Unbekannte wagen. Als gesellschaftskritische Dichterin ist Svetlana Makarovič besonders märchenhaften Frauenfiguren und Darstellungen des Weiblichen abgeneigt; diesem Zweck dient die Entthronung der Märchenhandlung mit zahlreichen zersetzten Märchenmotiven.
Verwies Svetlana Makarovič anhand des Märchens im Stile eines "Wahrheitsspiegels" in erster Linie auf seine verdeckten Elemente, so verfuhr sie bei der Aufnahme von Motiven aus slowenischen Volksliedern ähnlich. Das Volkslied setzte sie derart ein, daß sie seine offenbare Fröhlichkeit hervorhob und damit das eingebürgerte harmonische Bild entfärbte, wobei sie radikal die allgemein verbreitete Vorstellung von der Frau und ihrer traditionellen Gesellschafts- und Familienrolle zersetzte. Insofern wirkte Svetlana Makarovič auf das zeitgenössische slowenische Schaffen nicht nur als Literatin, sondern als ein prägender Geist.
Während sich die Bindung Svetlana Makarovičs an das Märchen als seine Zersetzung erwies und ihre Bindung an das Volkstümliche als Ironisierung und Entthronung, scheint sie dem Mythos treuer geblieben zu sein. Sie schöpfte aus der nicht vergangenen Vergangenheit und nützte zugleich dessen grenzenlose Vielfalt und kommunikatives Potential. Ihre Lyrik spiegelt vor allem die negative, dämonische Seite des mythischen Weltbildes wider, worin die menschliche Welt aus einer den Einzelnen, besonders die Frauen unterdrückenden Gesellschaft besteht. Ihre Außenseiterin bleibt zwar eine von ihrem Zuhause verjagte "zehnte Tochter", jedoch ist sie auch eine Rächerin, gute und schreckliche Mutter, zugleich auch eine Schelmin mit besonderem Sinn für Humor und ein "Sonnwendmädchen", das mit Liedern das Böse bannt.
UDK 808.63-54
Viktor Majdič
Pridevniki, tvorjeni iz krajevnih imen, zbrani v leksikonu Slovenska krajevna imena, se izpeljujejo pretežno iz krajevnoimenskih podstav, veliko manj iz prebivalskoimenskih. Prevladujoči in še vedno tvorni obrazili sta -ski in -š/ki, tvorba z obrazilom -č/ki, pojavljajoča se pretežno v panonskem delu Slovenije, pa je ovrednotena narečno. Pridevniki se izpeljujejo iz enobesednih in večbesednih krajevnih imen, in sicer bodisi iz obeh delov ali le enega, z enim ali več obrazili. Obdelane so tudi njihove naglasne značilnosti.
Adjectives formed from place names, which are collected in the Dictionary of Slovene Place-Names, are derived mostly from toponyms, much less frequently from oikonyms. The most prevelant and still productive formants are - ski and -š/ki; forms derived with -č/ki, occur primarily in the Pannonian part of Slovenia and are considered dialectal. Adjectives are from place-names of one or more words, though the derivation may make use of both parts of a place-name or only one part of it and may use one or more formants. The accentual properties of these adjectives are also investigated.
Summary
The derivation of adjectives formed from the local place names was studied on the material of more than 2000 local place names from the manual Slovene Place Names. It was discovered that most adjectives are made from the place-name base and only a minority of the adjectives is derived from the inhabitant-name base or optionally from it. Quite often there exist more than one adjective from the same local place-name, for example lomski/lomljanski/lomenski, from the place-name Lom pod Storžičem, or *ratečevobrdski/brdanski/rateški/ratovski, from the place-name Ratečevo Brdo, but formations from unaltered, (the whole, unextended base) dominate. Nearly four fifths of the adjectives in the materials studied are formed in this way, for example ankaranski (Ankaran), cvibeljski (Cvibelj), slapski (Slap ob Idrijci). If for a given place there is only an adjective from a modified local name base, the manual authors added also a hypothetical form from the unmodified base, for example *nimenski/nimski (Nimno), račiški/raški (Račica), skadanski/skadanščinski (Skadanščina). But there are very few examples where the adjectives are formed from the shortened base; here a hypothetical form of the adjective is marked by an asterisk, for example ajdovski (Ajdovščina), ljubgojski (Ljubgojna), etc.
The adjectives are mostly derived by suffixes -ski or/and -š/ki (with varieties -ovski, -ovški -evski -Enski, -Enški, -enski, -Eljski, -ovEljski, -inski). Particularly in the Pannonian part of Slovenia are found also -č/ki or -ovčki, in some examples even - c/ki (šprincki from Šprinc), -š/nji (britošnji from Vremski Britof), -ji or -/i (junčji from Junčje, kržeči from Kržeti) and -En or -ni (starocesten from Stara Cesta, benetni from Benete). Formations with suffixes -č/ki/-ovčki, -c/ki, -š/nji, -(j)i and sometimes also -En/-ni are qualified as dialectal, the same is with the oxitonic adjectives that end with -ski/-š/ki (dvorski from Dvor pri Bogenšperku, zaleški from Zales).
The heterogeneity of adjectival derivation depends on the consonantal suffixes of the base and also on the number of local place-names whose bases end with a certain consonant. The choice of adjectival suffixes with regard to the consonantal ending of the word formation base and the ways of (dis)uniting of consonantal juxtaposed compounds standing before suffix (sonant/non-sonant or non- sonant/sonant/sonant) were also analyzed.
Adjectives are derived from one-word and also from two- and three-word place-names. Derivations formed from two-word local names are, as a rule, made from the left attribute, but if the adjective in the local name expresses place (dolenji/dolnji/spodnji -gorenji/gornji/zgornji -- srednji), size (mali -- veliki), or time (novi - - stari) relations, the adjectives are as a rule derived from the substantive base. Only in names where the antecedent is vas 'village' is the most usual formation a two-word derivation (velikovaški, malovaški, novovaški, starovaški) or the derivation is formed only from the left attribute (dolenjski, sredenjski/sredenjški/srenjski, gorenjski/gorevški). The adjective is derived from the left attribute also in cases when the substantive derivation would be the same as from a one-word name of a nearby town or of an area (bistriški from Kamniška Bistrica, not kamniški; češnjiški from Bohinjska Češnjica, npt bohinjski).
The adjective is derived from two-word bases also, provided that the left attribute expresses color (belopeški from Bela Peč, črnovrški from Črni Vrh), ethnic designation (nemškogorski from Nemška Gora, slovenjevaški from Slovenja vas) or topographical charactheristics (golovrški from Goli Vrh, hudovrški from Hudi Vrh), etc.
In the cases where the inhabitants have not formed an adjective from a two- or three-word base of a place name, the manual authors formed it themselves; however, such words--of sometimes even seven or eight syllables--are nearly useless on the terrain. The stress of the adjectival derivatives is generally in accord with the stress of the base of the local place-name.
UDK 808.63-08
Jožica Škofic
Slovenski pogovorni jeziki so del socialnih zvrsti slovenskega jezika. Oblikujejo se tudi pri govorcih, ki iz domačega narečnega govornega okolja (prekmurski beltinški govor in gorenjski mengeški govor) zaradi šolanja na srednji šoli prihajajo v slovensko središče. Tu predvsem v formalnih govornih položajih ob sovplivanju izvornega narečja in knjižnega zbornega jezika oblikujejo nekoliko pokrajinsko obarvan pogovorni jezik.
Slovene colloquial languages are part of the social varieties of the Slovene langauge. They are formed by speakers from a local dialect environment (the Prekmurje village dialect of Beltinci and the Upper Carniolan village dialect of Mengeš) when they come to Ljubljana to pursue a high school education. Here especially in formal speech situations the mutual influence of native dialect and the high style of the literary language causes them to form a regionally-colored colloquial language.
Summary
Slovene colloquial languages have formed between the high style of the literary language, on one hand, and a local dialect (or dialects), on the other. Because of their fluidity and tremendous variegation, these varieties of language are very difficult to describe and normativize.
During high-school education a dialect speaker who comes to Ljubljana, in this particular case from Mengeš (Upper Carniola) and Beltinci (Prekmurje), changes his language to the Ljubljana colloquial language. Such speakers have as their first language the local dialect, the second, depending on the order learned, the literary norm, the third a variety of the colloquial language, the language of their urbanization.
Both groups of speakers are aware of the social variation of Slovene and the need for code switching in various speech situations. In the consciousness of the Prekmurje speaker there are three varieties of Slovene, used in different speech situations: dialect, (non-standard) colloquial and high- style literary language. In the consciousness of the Mengeš speaker there are only two varieties, also used in different situations: the language of home/local village dialect and the literary standard (regardless of what the speakers themselves call these varieties). Code switching in various speech situations is obligatory for the Prekmurje speaker because of the tremendous difference between his dialect and both the standard and colloquial language of the Slovene environment; the Carniolan speaker because of the greater proximity must merely choose between two registers. Both groups of speakers in a formal speech situation speak a variant (or variants) of the colloquial language. A characteristic of their speech is its regional coloring, which allows the hearer to discover the regional or dialectal origin of the speaker. In this most of the interference comes from the informal speech of home on the phonological level of the language system, which speakers are least aware of, whereas interference on the morphological, lexical and syntactic levels are exceptional (more of these are to be found usually in the speech of Prekmurje than Carniolan speakers).
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