Gjergj Fishta: gjuha dhe stili ; [2 libra] 2
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Albanian |
| Veröffentlicht: |
Prishtinë
Inst. Albanologjik
(2012)
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | 574 S. |
| ISBN: | 9789951596664 |
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Datensatz im Suchindex
| _version_ | 1804149676670189568 |
|---|---|
| adam_text | PASQYRA E LËNDËS
LIBRI
I
DYTË
SINTAKSA STILISTIKE
VEÇORI TË PËRGJITHSHME.................................................................
13
Periudhat Hdhë2ore dhe palidhëzore
..............................................
24
Mjetet sintaksore në ndërtimet kundërvënëse
..............................45
PËRSËRITJA
...................................................................................................70
Përsëritja dhe ndërthurja në
nivele
te ndryshme gjuhësore
........75
Llojet
e përsëritjes
.............................................................................83
Përsëritja
e
organizuar
......................................................................87
ANASJELLA
....................................................................................................91
PARALELIZMI
............................................................................................112
Paralelizmi dhe sintaksa
.................................................................112
Paralelizmi dhe semantika
.............................................................120
Paralelizmi dhe stilistika
................................................................126
GRUMBULLIMI
..........................................................................................132
Grumbullimi i mbiemrit
.................................................................137
Tejkonsumimi i mbiemrit
..............................................................140
Grumbullimi i
följes
.......................................................................142
572_______________________________________
SHEFKIJE ISLAMAJ
PARAFRAZA................................................................................................
150
PARADOKSI
................................................................................................158
SHKALLËZIMI
............................................................................................169
THURJA LEKSIKORE
..............................................................................179
VEPRIME STILISTIKE MBI BAZEN
E SINONIMISË,
FRAZEOLOGJISË
DHE KRAHASIMIT
................................184
Shprehjet
proverbiale sinonimike
....................................................184
Njësi të
ngurosura frazeologjike
......................................................190
Ndërtimet krahasore
..........................................................................194
Struktura dhe funksioni
.....................................................................207
NARRACIONI
NË LAHUTËN E
AÍALCIS........................................
210
Ligjërimii drejtpërdrejtë
...................................................................214
Thirrmorët
...........................................................................................215
Copëzimi
i vargut
...............................................................................217
Fjalia pa folje
.......................................................................................220
Vargui shkurtër
..................................................................................221
Tejzgjatja
e vargut..............................................................................
222
LEKSIKOSTILISTIKA
SHPREHËSIA
LEKSIKORE ...................................................................
229
Leksiku
.................................................................................................232
Pasuria
leksikore si
shenjë dalluese
..................................................237
LIGJËRIMI
DIALEKTOR
........................................................................239
Dialektizmat
........................................................................................241
LEKSIKU
I
VEÇANTË
............................................................................254
Funksioni
poetik i leksikut
................................................................270
Leksiku
і
moçëm
................................................................................274
Përzgjedhja e
fjalës
poetike
...............................................................281
Leksiku fetar
.......................................................................................293
GţERGJ FISHTA
-
Gjuha dhe
stili
_______________________________573
LEKSIKU,
DUKURITË
SEMANTIKE DHE
SHPREHËSIA
..........305
Sinonimei............................................................................................
307
Antonimet
...........................................................................................318
Paronimet
............................................................................................334
MBI
DISA
SHTRESA LEKSIKORE
.......................................................351
STILEMATIKA
E
GEGIZMAVE
...........................................................358
LEKSIKU ME BURIM TE HUAJ
............................................................366
Historizmat
.........................................................................................368
Orientali zmat
......................................................................................372
Sllavizmat
............................................................................................383
Neolatinizmat
.....................................................................................387
FJALËEORMIMI
DHE
SHPREHÊSIA
STILISTIKE
.........................390
FRAZEOLOGJIA
........................................................................................412
Struktura
e njësive
frazeologjike
......................................................413
Frazeologjia dhe krahasimi
...............................................................420
Përbërja
leksikore
e
njësive
frazeologjike krahasuese
...................422
Struktura
e
njësive
frazeologjike krahasuese
..................................424
Njësitë
frazeologjike metaforike
......................................................436
PËRSËRITJA
LEKSIKORE
......................................................................439
VEÇORI TË
TJERA LEKSIKO-SEMANTIKE
...................................458
Formulat
gjuhësore në Labutën e Maleis
..........................................458
Fjalët e shprehjet
e urta
.....................................................................461
Emrat e
përveçëm
..............................................................................469
Onomastikoni
.....................................................................................480
KONKORDANCAT LEKSIKORE NË LAHUTÊN E MALCIS
...488
FISHTA DHE FJALORI
............................................................................500
574
SHEFKIJE ISLAMAJ
PËRFUNDIM.............................................................................................
513
SUMMARY
...................................................................................................525
BIBLIOGRAFIA
E VEPRAVE
KRYESORE
-
BOTIMET
DHERIBOTIMET
....................................................539
LITERATURA............................................................................................
545
TREGUESI
I EMRAVE
..........................................................................563
Shefkije Islamaj
Gjergj Fishta
-
Language and style
Summary
1.
Gjergj Fishta is among the greatest writers in Albanian
literature and most appreciated Albanian intellectuals. His lite¬
rary work and broad cultural deeds make him a great writer and
appreciated intellectual. He was a poet, prose writer, publicist
and translator, actually he was a peculiar creator, fruitful and,
according to the time he lived, the most read author. His
erudition prevails in many directions, while his influence was
quite big in social and cultural flows of the time. Built in the
period of National Renaissance, Gjergj Fishta was one of the
most distinguished and expressive representatives of patriotic
ideals and endeavours for a free Albania and an educated and
civilized Albanian.
2.
In Albanian culture Gjergj Fishta remains among rare
authorities who experienced numerous praises while alive and
numerous disclaims after death. Fishta did have his own
weaknesses, for which he had paid long sentence, but long did
suffer also his work. More than other things, Fishta s consent
and loyalty towards fascist occupation were and continue to be
darks spots in his biography. Today he stands between panegyric
526_______________________________________
SHľFKUE ÍSLAMAJ
praiserers,
who are his defenders from past and present
accusations, and those who try to put him where he really
belongs. Fishta and his work were not evaluated objectively, yet.
3.
Gjergi Fishta s literary work is quite extensive and
begins as epic poetry to be continued further by dramatic poetry
-
drama with ancient and biblical subjects, adapted comedies of
European classical authors, and with lyrical, satiric writings, and
those with religious subjects, etc. Writings in prose are also
numerous. His work testifies delicate influence by classical, He¬
llenic and
roman
literacy, but also by European romanticism. In
his complete poetic maturity, since he had passed through po¬
pular school, classical school and romantic muse, he achieved to
synthesize all of them in his poetic work.
Fishta is not a writer who dealt with various topics:
actually he is a bi-topic writer. In his work come together two
great topics: homeland and religion. Other topics for which the poet
sings were subject to these main topics. Most of them are
politically motivated by the vents of the time, but also by the
social conditions. His main work is the poem Lahuta
e
Aialcis,
considered Albanian epic history. Fishta s other main compo¬
sitions are:
Λίπ ~/
/
Zaua/v,
Ріка
voëset,
Vallja
e Parri^it, An^at e
Parnasit, Gomari
і
Babatasit,
Taralloqja e Ballkanit and Nikolejda,
Jerina or Mbretnesha e Luleve,
etc.
4.
Labuta
e
Maids is artistic work strongly based in oral
tradition shaped quite sustainably in northern part of Albanian
territories, which represent specific geographical, historic,
cultural, epic and even linguistic regions where is well preserved
Albanian spiritual authenticity and where oral composition
recognizes continuity and peculiarity. By content and informa¬
tion, by aesthetic value and the manner of extensive acceptance,
Labuta
e Maleis
is a typical example of popular artistic compo¬
sition. In the realm of knowledge it brings valuable details for
anthropologists, ethnologists, historians and
folkbrists;
in aes¬
thetic realm it brings numerous linguistic and stylistic values,
GţERG} FISHTA
-
Gjuha dhe
stili
__________________________________527
while in the realm of reception the composition has experienced
popularity like none of the works of the time.
The narration of La/jura
e Maleis
is based in popular dis¬
course. The type of popular discourse is presented as underlying
tendency of the greatest part of artistic composition in the early
twentieth century, while the most typical in this context comes
out Fishta with hahnta
e
Maids. In his literary composition Fishta
followed spoken language in entire its planes, thus his language
has its simplicity, vitality and grace. He walked on the trails
created by poor first writers, which hold the merit of establi¬
shing the tradition of writing in Albanian upon popular discour¬
se, a tradition which took its whole expression during the
Renaissance and on. Fishta has found an already passed path,
but he didn t settle with such: he helped popular language not
only to go on sustainably through its time, but also to become a
really artistic language, with the features of developed language
ready to become a language of great works to be created after
him and in its uninterrupted history.
5.
Gjergj Fishta s literary work represents abundant subject
for linguistic-stylistic analyzes, since there is a question of the
communication mode in which the elements of linguistic expre¬
ssions, constituting his style, achieve the highest figurativeness.
The analyzing of linguistic-stylistic means, stylistic-metric means
and stylistic-phonic means in this study proves that Fishta s
language and style express broad compliance with popular lan¬
guage and style. This compliance stands at the first place in lexis,
phonetics, morphology, word formation, syntax, phraseology
and orthography. This analyzes proves that Fishta has a peculiar
style, clearly defined, expressed by quite individual usage and
conjuncture of linguistic units, linguistic means and stylistic acts;
proves that his language expresses elastic consistency of
phonologic, morphologic, lexical and syntax s models.
Therefore, it could be said that die study of linguistic and
stylistic specifics in Gjergj Fishta s work permits coming to
528_______________________________________
SHEFKIJE ISLAMAJ
conclusion that there could be discussed about his stylistic
grammar. This stylistic grammar was identified through stylistic
figures, respectively through the variants acquired deliberately in
all linguistic levels: phonologic and phonetic, morphologic and
word forming, syntaxes and textual as well as in lexical and se¬
mantic. The study demonstrates also that stylistic variants
acquired deliberately by the writer gained the character of sty¬
listic figures through basic acts of ancient rhetoric: exchange or
replacement, additions or augments, stunting or elimination and
transposition or trespassing of certain linguistic units. In this
context is actualized not a small number of stylistic figures in all
linguistic levels. With these acts Fishta proves a well known statement
of Rene Velek that in literary work there is no stylistic tool
which is unable of variation: they change all the time and in
each certain context.
The limits of selection freedom in Fishta s work are quite
broad and this is very well observable in the manner of linguistic
organization, more precisely in the usage of sounds and clusters,
of smaller linguistic units and grammatical shapes, of the words
and word clusters, in sentences and of different textual
constructions. Stylistic selection of Fishta includes all these
levels, while this study highlights expressive values and functions
of grammatical units of his poetic language. These values and
expressive functions of grammatical units unveiled in Fishta s
poetic language allow us to come to conclusion that grammatical
categories effective in Albanian language are incomparably in
greater number than could we be able to imagine and that Fishta
in this direction uses largely the riches of Albanian language.
Study of Fishta s language, I hope, points out not only language-
semantic and language-stylistic variegation and richness and ex¬
pressive means and possibilities of his language, but also those
of Albanian language itself.
6.
In the plain of phonetics, the analyzes of expressive
means and stylistic acts, primarily that of sounds, opposition of
GJERGJ FISHTA
-
Gjuha
dite stili__________________________________
529
their significant semantic values and other linguistic phenomena,
observed as qualitative and quantitative substantiality, shows
that there could be discussed for Fishta s specific phonetics
-
stylistic phonetics. In phonologic plane structural modifications
or structural motions in the basic grammatical form of the word
are acts of formal nature, since here is dealt with destruction
of signifying organization of the text and not with destruction
of semantic organization. In Fishta s literary text these modi¬
fications and motions, as analyzes testify, are made by different
motivations or are spontaneous. These structural modifications
or motions in phonologic plane, primarily, are based on artistic
motivation or incitement, but the number of modification that
has no such incitement is also quite large. Those which have not
that stylistic incitement or motivation, in this study, are consi¬
dered as writer s negligence or
non
primary. It can be claimed
without any doubt that Fishta with his stylistic acts has moved
language creative powers discovering numerous elements which
can make inner harmony in linguistic system.
Analyzes of Fishta s stylistic acts proves, likewise, that
structural modifications in phonological level, and not only in
this level, originate in ordinary discourse and are created as a
consequence of either deliberate ignorance or avoidance of lin¬
guistic norms of the time or as a consequence of the linguistic
economization. Thus, they begin to be created in ordinary or
popular discourse and afterwards they are displaced in poetic
language, becoming so relevant expressive-stylistic means. Struc¬
tural modifications or motions in the level of sounds I consider
also as an influence of popular literacy and the ancient literacy
and of classic literacy.
7.
Fishta s stylistic morphology or morphological stylistics
begins in stylistic effects of basic linguistic categories: names,
adjective, pronouns, verbs, adverbs to expletives. The principle
of grammaticism of i ishta s linguistic expression is turned in the
principle of harmony, which implies the intention of putting
530 ____________________________
SHEFKIJE ISLAMAJ
harmony between grammatical forms
—
gender, number, person,
tense and verb modes, syntax models, which by their symmetric
repetition or opposition become poetic means of literary struc¬
ture. Harmonization of linguistic expression in the plain of
grammatical structure, in Fishta s work, expresses numerous
emotional and semantic colours.
Tropes and stylistic figures in the plain of morphology or
even morpho-syntaxis, in Fishta s language, most of them are
those connected to replacement, respectively to grammatical
synonymy, but also to adaptation or exchange of grammatical
forms with functions or meanings that are typical for other
forms. In this context, Fishta realizes stylistic acts through sema¬
ntic grammar over placement. By semantic over placement gram¬
matical categories-names, verbs, adjectives, and especially verbs,
Fishta turns them into figurative categories, in lexical figures:
metaphors, personifications, metonymy, hyperbola, epithets,
augmentatives, diminutives and hypocoristic.
Stylistic acts in morphological level are conditioned by the
requirements for metric harmony. Thus, in Fishta s language, we
can find means enabling actualization of two synonymic
phonemic forms, of two synonymic morphologic forms or two
synonymic syntaxes constructions, which do not
-
differ by
content, but do differ, by the form. In this way are presented
verb forms, lexemic forms, but also syntax structures as well as
their synonymous forms. These forms with phonologic, mor¬
phologic, lexical and syntax character present a distinguished
feature in Fishta s language. They, along with metric function,
have also particular poetic and stylistic value.
8.
The language and style of Fishta s literary word proves
known and accepted opinion that syntax level of language gives
greater expressive opportunities than any other linguistic plain
and in this context syntax means are those which have prevailing
role in this expressionism. Fishta s syntax is the clearest disco¬
verer of not only his linguistic individuality, but also his
GJERGJ FISHTA
-
Gjuha dhe
stili
__________________________________
53j
individuality as a writer in general. His linguistic peculiarities in
the plain of syntax steam from the preferences, conversions,
avoiding, and density of using certain structures and models and
also not rare linguistic and stylistic novelties.
Study of Fishta s poetic syntaxes has revealed to us
extensive and very interesting realization in the plain of syntax
structuring. What characterizes stylistic syntaxes of Fishta are:
compression of the semantic and structural connections, inclu¬
ding here compression of understandings and other semantic
phenomena such as polysemi, synonymy, antonym etc, in
general extensive polisemy of poetic structure; inseparability and
systematic rhythm of particular poetic structures; informative
ending of poetic text; informative over satiety and overcon-
sumption of linguistic units; great density of structures with
attributives, prevailing of nominative sentences; syntax with
sentences of proverbial type; compression of verses with phra¬
seological structures; dense usage of synonymous and auto¬
nomous structures; structures with inversions of different types;
specific manners of verse union in syntax units, etc.
As construction manner and a manner of syntaxes con¬
nections, Fishta uses different forms of repetition: repetition of
linguistic units in the beginning of the verse, the end of the
verse, within the verse, in the beginning and at the end of the
rerse, repetition of linguistic units at the beginning of the first
verse and at the end of following verse. In this context occurs a
great variegation of repetitions. In Fishta s language syntax
models are essential for formation of rhythmic models. They are
connected to the order of the words and to the usage of case
forms, by inversion of analytical verb forms or by the placement
of verbs in unexpected positions.
9.
The analysis of Fishta s language and style emphasizes
parallelism as a main act in Fishta s language, actually empha¬
sizes that linguistic expression of F ishta s poetry is structured
mainly on the basis of parallelism, which together with the
532___________________________________
SHEFKIJE ISLAMAJ
repetition and symmetric opposition function also in the plain of
grammatical meanings as aesthetic acts. Connection of different
morphologic classes and syntax structures in symmetric way,
which is very apparent, testifies transfer of these traditional mo¬
dels from oral epic tradition to in the language of literature.
Opposition in grammatical plain is closely connected with the
composition of Fishta s poetry.
Study of Fishta s poetics proves that the role of syntaxes in
the composition of his work is not limited only in different
forms of repetition. This study shows that composition and to
some extent also the rhythm of
Ľahuta e
Maids are structured or
conditioned by different syntax rapports both within the verses
and beyond their limits. Fishta, in general, structures poetry in
inseparable connection to rhythm. Intonation of Fishta s sente¬
nce, which is realized in the syntax of the verse and which is not
less important than rhythm, very often plays a very relevant role.
10.
Gjergj Fishta is considered among best experts on
Albanian language, of popular language and artistic language, he
is known as an excellent expert of Albanian lexis and, especially,
of the lexis of Shkodra s spoken language and northern dialect in
general, actually, he is known as one of the greatest enrichers of
Albanian language. By using, cultivating, processing and reviving
Albanian word, it could be said he has structured a great
monument of Albanian word. Thus, it could be said that his lan¬
guage is a document for our language history and our cultural
history.
I xical riches are distinctive sign of Gjergj Fishta s literary
work. He has researched and dug, chose and selected, extended
and processed, with special care words of Albanian language in
general, words of his dialect and words of his birthplace; he gave
spirit to them or revived dead words or half dead words , he
removed the dust from the forgotten and avoided words, he
extended and gave weight to special words, created, recreated
and modified new words or words based on already known
GJERGţ FISHTA
-
Gjuha dhe
stili
_________________ 533
words, emancipated and pointed semantic weight of numerous
lexical units, actually slackened and discharged semantically
numerous words, but also tightened and imposed semantically
many others. In one word, he used as rarely any author did
lexical riches of Albanian language, its means and options.
Number of the words used by Fishta in his literary and
publicist work is quite large, while the number of provincial
words which will live in their written form and perhaps for the
first time in his literary work exceeds the hundreds. However,
for him words only, as special linguistic units, were not enough.
He trailed and found different phraseological expressions and
structures, ancient linguistic formulations; he activated or
revived different linguistic-folkloric categories, human and place
names and naming. So, his vocabulary became the greatest
facilitator of his inspiration and talent, actually of his art. His
vocabulary is a vocabulary of yesterdays and present days Alba¬
nian. It is not a vocabulary of his dialect, but a vocabulary of
Albanian language, since dialects are determined based on
grammatical, phonetic and morphologic peculiarities, and not
lexical ones. Eventual distinctions in lexical level are due to lack
of meetings, collisions or frictions because of different non-lin¬
guistic factors and not the linguistic ones.
11.
The riches in the plain of word formation, respectively
riches expressed in the plain of the Albanian language options
and means, in creating derived words, words with prefixes,
words with suffixes,
pre
nodding to the popular composites,
unveils a delicate extension in Fishta s language.
Another relevant aspect of Fishta s linguistic wealth in
lexical plain is great whole phrase and phraseological riches
-
phraseological units, idioms and phraseological combinations.
Fishta s language, better than any of his cotemporary fellows
language, reveals Albanian language s riches and agility in general
and of gege dialect in particular.
534 _________________
SHEFKIJE ISLAMAJ
Within lexical riches is distinguished especially a very
broad semantic structure, started with polysemi and synonymy
to antinomy and paronimy. The riches and variegation of
grammatical, lexical, phraseological and syntax synonymy and
antinomy, as well as developed lexical paronimy, makes Fishta s
lexical semantics become priced same as his lexical wealth.
However, what should be necessarily highlighted in this context
are relations created between these semantic phenomena as well
as lexical-
sintagmatic
relations in general.
12.
In Fishta s literary work dialectical lexis with neutral
character prevails over dialectical lexis with stylistic character.
And this happens in his entire work regardless of type or gender.
Even though characterized at large as neutral, Fishta s dialectic
discourse is known especially for stylistic usage of lexis in
general, and in this usage are distinguished not only dialectisms,
provincialisms and localisms, but also old words and borrowings
with dialectical peculiarities. Their usage determines time and
typifies the place, geographical and social environment, local and
foreign mentality and psychology.
13.
Orthography in Fishta s language expresses the norm
of north-western
geg
dialect of that time, but with all the efforts
for using as general linguistic means, this endeavour didn t make
his language a normative model with authority of a standard
language for many reasons. It can be claimed so since the ortho¬
graphy in his literary work expresses quite oscillations and
unprincipalities. These orthographic oscillations and unprici-
mpalities in his works are not connected only to temporal aspect
or temporal distance of their edition, but also with horizontal
cut i.e. they are also orthographic oscillations and unprincipa¬
lities within editions of the same time, even within the same
work.
14.
Gjergj Fishta s literary work is wealth of Albanian
literature, value of Albanian culture. However, it could be
claimed that some of Fishta s compositions could not and
wil
GJERG] FISHTA
-
Gjuha dhe
stili
__________________________________535
not resist the time, exactly because of the lack of artistic value. It
has its values and shortcomings each work of famous writer
have. Given that Fishta was a comprehensive creator
—
he
cultivated epic, lyric, dramatics, satyr and publicities, it is under¬
standable that for all these plains of creation he didn t have
necessary success and didn t have particular talent nor needed
inspiration. Thus, it could be said that Fishta has written books
inspired and realized artistically, works which will live the time,
but he has also written works with little artistic value, works
which are read with difficulties or which will become even
harder to read.
15.
Artistic shortcomings in Fishta s work, above all, are
connected with its moralizing and rhetoric tendency. His literary
work-epic, lyric, dramatic and publicist, somewhere more and
somewhere less, permeate moralization and rhetoric, emphatic
and declamative tone. In this context should be seen also short¬
comings connected to stylistic-linguistic means. Fishta s work
didn t achieve to avoid prolixity, excessive usage of words-
redundancy, unnecessary repetitions, numerous linguistic errors
and stylistic deviations.
According to all said by now, we will conclude with an
ascertain that Gjergj Fishta, especially by the language, is a
typical follower of romantics, follower of principle upon which
is based preceding literature, in a special way establisher of lan¬
guage cult, of its connections to roots. Within these limits it
cannot happen something otherwise; he will make an effort to
derive from popular language all its riches by giving to it new
appearance and new strength. In this persistent effort his great
talent will felicitate to unveil the spirit of popular language, to
discover its options and means to revive, particularly, its ex¬
pressive power, which would best be proved in his narrative
discourse
-
in narration of Lahuta
e Maleis.
|
| any_adam_object | 1 |
| author | Islamaj, Shefkije 1953- |
| author_GND | (DE-588)118890003X |
| author_facet | Islamaj, Shefkije 1953- |
| author_role | aut |
| author_sort | Islamaj, Shefkije 1953- |
| author_variant | s i si |
| building | Verbundindex |
| bvnumber | BV040591119 |
| ctrlnum | (OCoLC)820425173 (DE-599)BVBBV040591119 |
| format | Book |
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| id | DE-604.BV040591119 |
| illustrated | Not Illustrated |
| indexdate | 2024-07-10T00:26:49Z |
| institution | BVB |
| isbn | 9789951596664 |
| language | Albanian |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-025419055 |
| oclc_num | 820425173 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 574 S. |
| publishDate | 2012 |
| publishDateSearch | 2012 |
| publishDateSort | 2012 |
| publisher | Inst. Albanologjik |
| record_format | marc |
| spelling | Islamaj, Shefkije 1953- Verfasser (DE-588)118890003X aut Gjergj Fishta gjuha dhe stili ; [2 libra] 2 Shefkije Islamaj Prishtinë Inst. Albanologjik (2012) 574 S. txt rdacontent n rdamedia nc rdacarrier Fishta, Gjergj 1871-1940 (DE-588)118683764 gnd rswk-swf Sprache (DE-588)4056449-6 gnd rswk-swf Syntax (DE-588)4058779-4 gnd rswk-swf Wortschatz (DE-588)4126555-5 gnd rswk-swf Literarischer Stil (DE-588)4074271-4 gnd rswk-swf Fishta, Gjergj 1871-1940 (DE-588)118683764 p Sprache (DE-588)4056449-6 s Literarischer Stil (DE-588)4074271-4 s Syntax (DE-588)4058779-4 s Wortschatz (DE-588)4126555-5 s DE-604 (DE-604)BV040591051 2 Digitalisierung BSB Muenchen 2 application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=025419055&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen 2 application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=025419055&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Islamaj, Shefkije 1953- Gjergj Fishta gjuha dhe stili ; [2 libra] Fishta, Gjergj 1871-1940 (DE-588)118683764 gnd Sprache (DE-588)4056449-6 gnd Syntax (DE-588)4058779-4 gnd Wortschatz (DE-588)4126555-5 gnd Literarischer Stil (DE-588)4074271-4 gnd |
| subject_GND | (DE-588)118683764 (DE-588)4056449-6 (DE-588)4058779-4 (DE-588)4126555-5 (DE-588)4074271-4 |
| title | Gjergj Fishta gjuha dhe stili ; [2 libra] |
| title_auth | Gjergj Fishta gjuha dhe stili ; [2 libra] |
| title_exact_search | Gjergj Fishta gjuha dhe stili ; [2 libra] |
| title_full | Gjergj Fishta gjuha dhe stili ; [2 libra] 2 Shefkije Islamaj |
| title_fullStr | Gjergj Fishta gjuha dhe stili ; [2 libra] 2 Shefkije Islamaj |
| title_full_unstemmed | Gjergj Fishta gjuha dhe stili ; [2 libra] 2 Shefkije Islamaj |
| title_short | Gjergj Fishta |
| title_sort | gjergj fishta gjuha dhe stili 2 libra |
| title_sub | gjuha dhe stili ; [2 libra] |
| topic | Fishta, Gjergj 1871-1940 (DE-588)118683764 gnd Sprache (DE-588)4056449-6 gnd Syntax (DE-588)4058779-4 gnd Wortschatz (DE-588)4126555-5 gnd Literarischer Stil (DE-588)4074271-4 gnd |
| topic_facet | Fishta, Gjergj 1871-1940 Sprache Syntax Wortschatz Literarischer Stil |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=025419055&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=025419055&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| volume_link | (DE-604)BV040591051 |
| work_keys_str_mv | AT islamajshefkije gjergjfishtagjuhadhestili2libra2 |