Communication between people is full of non-verbal signs. It is certain that without them communication would be much more poor and incomplete, less expressive and didn't notify about emotions and attitudes of participants in the communication process. Non-verbal communication includes speech and non-speech aspects of behavior which happens in social interaction. The main function of language is transferring abstract ideas while non-verbal communication expresses emotional conditions and attitudes and also regulates interpersonal interaction. In a continuous human communication from prehistoric times until today exists non-verbal signs and they are used to describe people and their experience. In non-verbal communication, paralinguistic signs take a special place. They give expressiveness and vividness to speech, and they can contribute to complete expression and better understanding meanings of speech. Without these elements, our speech would be monotonous and often less understandable.

Euphemisms are the forms of language used to replace unpleasant, inappropriate and undesired words. In linguistics, however, the words that are forbidden or unwanted in a particular society are referred to as taboo words. Since these two terms have an entirely opposite meaning it is particularly interesting to examine their parallel use. Their expressive and impressive values in different functional styles diverge and the purpose of this paper is to examine the use and linguistic-stylistic values of euphemisms and taboo words within different functional styles.

The present paper reveals and presents some linguistic and stylistic features in the oral poetry of Bosniaks, with a special focus on the sevdalinka. The analyses presented in this paper were inspired by the collection of sevdalinkas from the Anthology of Bosniak Oral Lyric Poetry. The analyses have been conducted on the phonological-phonetic, morphological, syntactic, and semantic level. The elicited stylomes have been classified according to a set of criteria and with the aim of elaborating their value and function in the sevdalinka. The main features of the sevdalinka are its folk elements – it is raised by people, and lives with them. Therefore, it is expected that the sevdalinka genuinely reflects the ambience of its people – not only spiritual, material, or social, but also the linguistic one. The language of the sevdalinka is a folk language, viz. the language of the period in which it was emerging. However, observed from a contemporary linguistic perspective, this language is an archaic expression embedding highly valuable stylistic features.

In this paper, we will try to analyse and classify gerunds. Traditionally, the term gerund in Latin and European grammars is often synonymous with gerundive. In Slavic languages, the distinction is made between gerund (verbal adverb) and gerundive (verbal adjective), which may have an adverbial function as well. Gerunds (verbal adverbs) are verbal forms that have certain features found in verbal nouns and verbs (voice, negation, forms of periphrastic conjugations, modifiers, complements, etc.). In the sentence, they function as adverbials for manner and time. Since the subject in the sentences may be expressed, and since they are semantic equivalents of dependent clauses in European languages, some Turkologists classify them as infinitve predicative (or quasipredicative) forms. One of the issues in contemporary Turkish language studies is gerund classification. Namely, there are other morpho-syntactic forms in Turkish that correspond to gerunds in terms of their function and semantics. They are, therefore, completely or partially classifed as such, without morphological criteria of the classification. These criteria are: they are formed by independent suffixes, they are impersonal and do not accept affixes for case, i.e. they cannot be declined. The examples necessary for the gerund analysis will be taken from Rabiya.

When transferring from one language, language A, to the other , language B, similarities and differences can easily be perceived. Very often, some language categories are found in one language, but not in the other one. In order to detect those similarities and differences, we need contrastive analyses. Turkish language does not identify category of prepositions, and instead of prepositions, postpositions or quasi-postpositions are being used, occasionally even case endings. Subject relations in Bosnian language are expressed by prepositions, while in Turkish language different morpho syntactic resources and word classes ( case endings, flex ion, post positions, quasi-post positions etc.) are being used. In this paper, we shall borrow examples from Mesa Selimovic's novel „Death and the Dervish―, and discus the question of prepositional concord in Bosnian with post positions in Turkish. When listing adverbs in Turkish, we are noticing different words for prepositional expressions in Bosnian: words and endings, since Turkish language does not identify prepositions like other Indo European languages do, therefore prepositions are placed after the correlated word. Hence, the main difference is that prepositions are placed in front of the autonomous words case form, and post positions after the word to which case ending of that same post position is implicated. This will be discussed further.