Repetition manifests itself in different ways and at different levels of the text. The first basic type of repetition involves complete recurrences; in which a particular textual feature repeats in its entirety. The second type involves partial recurrences; in which the second repetition of the same textual feature includes certain modifications to the first occurrence. In the article; repetitive patterns in Edgar Allan Poe’s short story “The Fall of the House of Usher” and its Slovene translation; “Konec Usherjeve hiše”; are compared. The author examines different kinds of repetitive patterns. Repetitions are compared at both the micro- and macrostructural levels. As detailed analyses have shown; considerable microstructural translation shifts occur in certain types of repetitive patterns. Since these are not only occasional; sporadic phenomena; but are of a relatively high frequency; they reduce the translated text’s potential for achieving some of the gothic effects. The macrostructural textual property particularly affected by these shifts is the narrator’s experience as described by the narrative; which suffers a reduction in intensity.

The article presents the results of a culture quiz that was administered among undergraduate students of English and Translation at the University of Maribor in 2019. Comprising twenty items from five domains of culture that the respondents had to identify, the results of the quiz showed that that the students were most familiar with items from the domains of technology and its closely related vocabulary, followed by sports, politics and high culture (drama, literature, ballet). The study also suggested some differences based on respondents’ gender and their high school grade performance in English. The results partly overlap with the results of a similar study from 2007, corroborating that popular culture remains the most recognizable cultural domain among the surveyed students.

This paper provides an overview of Alice Munro’s first sentences from her 149 stories published in her 14 collections. Despite the epithet “Munroesque,” there is a remarkable variety to the typical Munro story and Munro’s style. Many of her stories begin with short, mundanely declarative sentences of a few words; many other first sentences stretch over several lines; many foreground time or, more accurately, time past. The variety of these first sentences might lead the cataloguer to despair or to proclaim fatuously that the Munroesque quality of her fiction lies in how different it all is …. Though generalizations are dangerous, there is one constant: for all their stylistic diversity, Munro’s first sentences tend to establish a tension between what is realistic and tangible and the seeming, what lies beneath or hidden.

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