RTV Theory and Practice - Special Issue

So we have before us the struggle to create a new language. And that is a very exciting moment in the development of the arts! For the fight for a new language means a fight for a new literature. We must create a new тетогу in the minds of the people. Therefore, it is essential to define what sort of language it should be. The sort ot activity going on around the different television stations is not an>_ must not be called a struggle for a »television language«. 'Пге television centre is a technical one; the television set, a technicai gadget, The fact that language is cut, tailored and trimmed in editmg rooms and on electronic tapes indicates oniy the search for a concise, sensitive, informative, and proverbial Serbo-Croat. Апу other essence which might сгеер into that »new language« would only lead to confusion, even nonsense. Professor Đorđe Kostic s warning гетагк should be taken to heart! The aim of this hngmstic struggle must be a search for new recources ш the Serbo-Croat language. Naturally, if some existing resources remain and if t language is still Serbo-Croat, this does not mean that those pithy 3-second sentences should be swallowed up by the new hnguisUc whale. Existing proverbial resources must not be forgotten, and aiJ those disjunctives, relatives, and words expressing surpnse, astonishment and admiration, aU the fireworks of ImgmsUc shock tactics, far from being chased out of the language, must become more mature.

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