Asindetske rečenice kao jezičko-stilska dominanta pripovijedaka Jovana Radulovića

Abstract

The paper pinpoints and describes asyndetic sentences as the linguistic and stylistic dominant of Jovan Radulović’s short stories. The analysis was primarily syntac- tic-semantic, because its goal was to single out and describe the basic structural-semantic models of asyndetic sentences in Radulović’s literary work. The method of analysis was analytical-synthetic. The analysis of asyndetic sentences in Jovan Radulović’s short stories greatly chang- es the view on the syntactic-semantic and stylistic status of these sentences in the language in general, and in the literary-artistic style in particular. Namely, Jovan Radulović shows originality and innovation by creating as many as five structural-semantic types of asyndetic sentences. Thus Radulović forms asyndetic sentences: 1) whose clauses combine narrative and direct speech as the speech of literary characters, 2) whose clauses combine narrative and free indirect speech, 3) whose clauses represent sentences of different functional goal or purpose, 4) which combine clauses expressed by predicate and non-verbal statements, and 5) whose asyndetic clauses allow“insertion” into the structure of another asyndetic clause. And it is exactly these types that represent the main argument that asyndetic sentences are structured according to the principles of the (bound) text, and not according to the princi- ples of a complex sentence. The analysis also showed that Jovan Radulović often includes a syndetic clause in the structure of polyclause asyndetic sentences in the mesophoric or epiphoric position for semantic and / or stylistic reasons, thus forming an asyndetic-syndetic sentence, which represents a comparative basis for declaring asyndetic sentences as a stylistic device. The analysis also showed that Jovan Radulović uses three orthographic signs for syntactic delimitation of clauses without conjuntions in the asyndetic sentence, namely commas, dashes and semicolons, where the comma is the most common and structurally- stylistically unmarked sign, while dash and semicolon are always used intentionally: for a special or structural or semantic, or stylistic emphasis on the role of one of the clauses within the whole asyndetic sentence.