Creative use of idioms and other multi-word lexical units in the works of Mladen Kerstner: possibilities and intentions

U radu se analiziraju frazemi i druge višerječnice u kajkavskim djelima ludbreškoga pisca Mladena Kerstnera, s namjerom da se utvrdi autorova frazeološka kreativnost kao posljedica upotrebe frazema u kontekstu. Analizom po formalnome kriteriju utvrđeno je da sedamdeset posto građe čine preuzeti temeljni oblici općehrvatskih, podravskih i ludbreških frazema te ustaljene ludbreške varijante podravskih frazema, u kojima o autorskoj kreativnosti nema govora. Tek tridesetak posto građe čine autorske modifikacije ustaljenih frazema i varijanata te inovativne Kerstnerove višerječnice. Semantičkom je analizom utvrđeno da je za razumijevanje čak 91% višerječnica (koje uključuju i frazeme) potrebno stereotipno znanje o podravskome kraju i poznavanje općekajkavskoga govora. Tomu je tako jer je autor s jedne strane želio stvoriti autentičnu sliku gornjopodravskoga naselja i njego-vih stanovnika sedamdesetih godina 20. stoljeća, a s druge je strane želio ostvariti što širu recepciju svojih djela i u ne-podravskoj i u ne-kajkavskoj Hrvatskoj. Balansirajući između tih dviju težnji, Kerstner je i općehrvatske štokavske frazeme i lokalne ludbreške kajkavske frazeme modificirao do razine po-dravskoga stereotipa. Analiza ustaljenih ludbreških varijanata podravskih frazema pokazala je da do frazemske varijantnosti dolazi ponajviše radi prilagodbe frazema jezičnom i kulturno-geografskom prostoru dijelom kojega postaju. U potrazi za Kerstnerovom frazeološkom kreativnošću pokazalo se da kreativnost nije bila autorova primarna nakana, već je to bilo stvaranje autentičnosti i humora, uz neprestano zadržavanje na jezičnoj i frazeološkoj razini koja je pristupačna širem sloju publike.of Ludbreg, Croatia, with the intention of determining Kerstner’s idiomatic creativity in terms of his use of idioms in context. An analysis using formal criteria determined that 70% of the material consists of everyday idioms that are commonplace in the Croatian language in general, as well as in the Podravina regional dialect, or the Ludbreg local dialect. Only 30% of the material consists of Kerstner’s creative modifications of common idioms and his own innovative multi-word lexical units. A semantic analysis determined that in order to understand as much as 91% of multi-word lexical units (which include idioms), it is necessary to have a stereotypical knowledge about the region of Podravina and general knowledge about the features of Kajkavian dialects. This is because the author wanted, on one hand, to create an authentic picture of the settlements of Upper Podravina and its inhabitants during the 1970s; on the other hand, his intention was also that his works be received by as broad a non-Kajkavian-speaking and non-Podravina readership in Croatia as possible. Balancing between these two tendencies, Kerstner even modified to the level of the Podravina regional stereotype both general Croatian Štokavian idioms and Kajkavian idioms specific to Ludbreg. An analysis of common Ludbreg variants of Podravina idioms revealed that the variation of specific idi-oms occurred mostly due to the adaptation of idioms to the linguistic and cultural-geographical space of which they become a part. The search for Kerstner’s idiomatic creativity revealed that his primary intention was not to be creative, but rather to create authenticity and humor while remaining on a linguistic and idiomatic level that could be understood by a broad readership