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The objective of this paper is to gain insight into the importance of English in conducting business efficiently in the banking sector. Also, the conclusions have been made after consideration of relevant research as well as its comparison with research conducted in certain banks in Serbia. The conclusions address the level of usage of the English language in this sector and the opinions that employees have regarding it. Due to the development of e-commerce and daily use of the Internet, the English language has become lingua franca in the banking sector. Also, in order to operate effectively and communicate between banks of different countries, it is important to begin with English language learning in a timely manner. In this paper, the emphasis is primarily placed on written correspondence since it is highly present in banking operations. Employees who perform a more complex type of business and who use English every day should improve their writing skills by gaining greater familiarity with, and putting into use more frequently, certain banking terms and initials/acronyms in the English language.

The Divine Child was introduced by Carl Gustav Jung as an archetype closely linked to the process of individuation. Beyond the realm of analytical psychology, this peculiar child figure has been observed in myths and folklore and eventually evolved into a literary archetype known alternatively as das fremde Kind (the strange/alien child). Numerous child figures have since been regarded as representations of this archetype, with the titular character of Michael Ende’s novel Momo (1973) being one of them. While her initial appearance is evocative of the Divine Child, over the course of the story Momo has to accept her fate as the chosen one in a battle against a mysterious foe, ultimately finding herself in the role of the hero of the story. This paper examines the traits of both the archetype of the Divine Child, as well as that of the Hero – including a variation specific to child characters – with the goal of reconsidering if Momo is truly exemplary of the archetype of the Divine Child. This is done with particular regard to Christopher Vogler’s observation that literary archetypes are character functions, rather than fixed types, and as such this paper will discuss how Ende’s protagonist is ultimately an example of this fluidity of functions.

In this paper we focus on the comparative analysis between Shakespeare’s Romeo and Juliet and its modern version, Anouilh’s Romeo and Jeannette . Anouilh is a representative of modern playwrights who evoke Shakespeare in their argument that a number of structures in our society are enemies of the authentic individual. What they adopt from Shakespeare is the capacity of man to relate with the world in a loving way. We argue that Anouilh’s Romeo and Jeannette fits the template of Shakespeare’s Tragic Equation – the mythical pattern present in all of the Bard’s works, the tragedy of the Lover devoid of love. These works evoke Shakespeare’s warning: that modern society is not conducive of love. On the contrary, the system is based on the suppression of genuine human affection; its re-emergence would subvert the dominant power-relations. In the introduction, we attempt to define the notion of romantic love by referring to the works of Bloom, Illouz, Vyvyan, etc. The following two segments of the paper deal with the analysis of the romantic relationship in Shakespeare’s Romeo and Juliet and its modern evocations in the work of Anouilh. In the conclusion, the destructive tendencies of the (modern) patriarchal society are yet again highlighted and linked to Shakespeare’s warning and desire to make his audience and readers perceive, judge and finally condemn them.

This paper deals with the review of the comic phenomenon in Nicolai Hartmann’s Aesthetics . First, the problem of indefinability, which is characteristic to the theories of laughter, is presented, and then the basic settings of Hartmann’s phenomenological philosophical system, with determination of aesthetics’ place in it, are examined. The main part of the paper focuses on the phenomenon of the comic, which is viewed from the perspective of the theory of betrayed expectations. Hartmann makes a distinction between the comic, which is characteristic of an object, and laughter as a reaction to the comic. Emphasizing the connection between laughter and ethics, he distinguishes humor, which includes the positive ethos, and blank comic entertainment, joke, irony and sarcasm, based on the negative ethos. Comic phenomenon is observed by the principles of the stratifi ed structure of the piece of art. The paper aims to show the advantages and disadvantages of this approach to the problem of comic.

The paper is concerned with Toni Morrison’s contemporary novel Beloved , from the point of view of Sandra Gilbert and Susan Gubar’s notions of the madwoman in the attic and the anxiety of authorship . The first term refers to the rebellious female hero from the nineteenth-century women’s literature, whereas the latter concerns the fear of writing as a male profession, felt by the nineteenth-century women writers. It is precisely this anxiety that influenced these writers to create the madwoman character, who opposes the patriarchal system in a latent manner. Starting from this critical perspective and asking the question whether contemporary women’s literature also contains such anxiety, the paper focuses on the main female character of the novel Beloved , initially published in 1987. The aim is to point out the difference which separates contemporary Toni Morrison from the nineteenth-century women writers, but is not solely temporal. This difference has to do with the character of the postmodern age, but is mainly related to a shift from the manner in which the nineteenth-century women writers created their female characters. The paper analyses this literary distinctiveness, but also attempts to find a broader meaning of this originality as seen from the point of view of contemporary women’s literature and reading. By focusing on Sethe – the main character of Beloved , the paper points out that Toni Morrison breaks with the tradition maintained by her literary ancestors in that she does not divide her female characters into obedient and recalcitrant ones in relation to the patriarchal system. Instead, she creates a character who is both a motherly angel and a madwoman committing infanticide, thus making it possible for her readers to interpret the novel from the perspective of a woman with ambivalent roles and specific experience. In this way, she also deconstructs the male writing and reading rules. By doing so, Morrison conveys a message that the anxiety of authorship of a contemporary woman novelist can be if not totally cured then certainly lessened by means of writing.

The paper deals with the theme of wedding, wedding customs, views, and beliefs connected to marriage, girlhood and the notion of erotic in the novels Bihorci and The Battle of Mojkovac by Camil Sijaric. The paper links the text of the novels to traditional beliefs connected to wedding and marriage, based mostly on Slavic mythology and the way of life in a traditional rural community. The ethnologically-precisely described wedding customs are parodied and caricatured within the novel’s context or are given a tragic context. Such parodied customs and beliefs play a role in characterisation of characters and in building up their grotesque or, on the other hand, being torn between traditions on the one hand and social and the historical circumstances that the characters live in.

This paper, through Greenblatt’s theory of self-fashioning and correlated with Foucault’s understanding of power and discourse, determines the identity of the characters of the historical dramas Marojica Kaboga and Knez Nikola Zrinjski by Matija Ban, and the possibility of their “slipping out” of their assigned roles. The identity of the characters of Ban’s historical dramas symbolized several levels: national, cultural, political and private. The invention of intent-mentioned historical drama allowed for discourse on power, and found space for self-fashioning heroes and their personal choice. The final part of the paper answers the question whether historical drama with such certain tendency can examine or expound about personal identity.

This paper deals with the motifs of clothing and fashion in Virginia Woolf’s Mrs Dalloway , with the aim of pointing out that these frequently used motifs of Woolf’s should be seen as one of the points where the character and the city – two significant participants in her novels – meet. Acknowledging the standpoints of Milina Ivanovic Barisic, who understands fashion as both a sign of social status and an expression of personal identity; R. S. Koppen, who reads clothes as a sign of both a personal style and interpersonal (class/ gender) relations (in Virginia Woolf’s case especially); Asta Andresdottir, who has a similar view on clothing based on Woolf’s novels; and McGaw and Vance, who consider the emotional relationship between urban dwellers and their cities, this paper analyses the clothing and fashion styles of two representative female characters in Mrs Dalloway – Clarissa Dalloway and Doris Kilman. Conclusions are then derived as to the way in which the two contrasting styles reveal the social identity and personal characters of each of the heroines, and as to what kind of individual emotional relationship with the city their fashion choices may suggest.

This paper discusses the relationship between the genre of detective story and literary movements. Although this genre was formed during the period of Romanticism, especially in the texts by E. A. Poe, it has been typically linked to Realism. This attitude was established in the early decades of the 20th century by authors such as G. K. Chesterton, Dorothy Sayers, Austin Freeman and others, who have canonized the conventions of the detective story. In the 1960s, however, there was a new trend of questioning the said attitude and fi nding traits of Romantic po/ethics in this genre. (Post)structuralism reads the detective story from the perspective of (post)modernist understandings of culture. The paper concludes that the attitude of the detective genre towards literary movements is not dependent only upon its inherent traits, but also upon the perspectives which analyze those traits. The neverending controversies regarding this problem stress the detective story’s longevity. And longevity, in many theories, equals quality.

This paper analyses the distinctive narrative features of Svetozar Corovic’s rich and versatile oeuvre, predominantly his short stories and short forms in general. The features the author focuses on are as follows: description, scene, dialogue, flamboyant characters, and effective endings. Although mostly deemed as late realist, Corovic, in terms of major features of his narrative (internal monologue, psychological narration, free indirect speech, tendency towards naturalistic details) belongs to Modernism as well, during which period most of his works appeared. The fact that Corovic as a storyteller is unduly marginalised in Serbian literature is emphasised, which can be seen from the sheer number of relevant texts on him, and even more vividly revealed by the frequency of publication of his works.

This paper deals with the analysis of the novel The Villa of Women by Sarif Mazdalani, a Lebanese writer, through the prism of discussion of the notion of home and the notions implicit to it, as well as of that of woman, that is, femininity in general. Namely, a purely diegetic layer of narration, with quite distinct time and space connotations, relies upon the hypotext into which numerous archetypal and mythological, as well as biblical motifs, are woven. There is an obvious analogy between the symbolism of home and hearth, on the one hand, and the woman, on the other hand, which, according to mythological, archetypal, even ontological interpretations, presents a static, centripetal, immanent principle, related to the notion of telluric and similar ranges of notions. Unlike the male characters in the novel, who disappear, depart and return, and who, similar to the female ones, almost clearly reflect certain mythological figures, the woman as an immobile, static force makes sure that the ‘home nest’ is preserved, a symbol of victory of order over chaos, cosmogony completed– that still remains in the domain of man – as a place where the starting point of the mythological axis mundi rests. Mazdalani, whether consciously or not, adds stylistic features to this ancient story, whereas the title itself clearly points to the essence of the narrated, as well as to the indisputable correlation between the two notions.

Sujata Massey catches a rupture from her popular Rei Shimura mystery series and puts pen to paper. The Sleeping Dictionary (published as City of Palaces in India)—a rambling, Victorian era motivated novel; set between 1925 and the end of World War II. The Sleeping Dictionary provides a leaving for the novelist, whose mysteries have pinned to themselves practically every medal in the genre. Sujata Massey, has treaded self-assuredly into the dominion of historical fiction out of her thriller approach to write quite a new thriller while paying attention to history. The Sleeping Dictionary exhales nuovo lease of life into both the bromidic plots of a stray in opposition to the planet, and the forever and a day trendy coming-of-age account by handling curious backdrops and avant-garde confronts.

This paper discusses ambivalence humor and parody, to be the most important qualities of a literary work by Branko Copic. Although its roots can be sought on different sides, here they are found in the mythical conception of the binary structure of world and folk philosophy. The ambivalent principle includes the characterisation of certain literary characters, their attitude towards themselves and others, and to the world in which they live. Also, the ambivalence may be present in some literary genres (fairy tale, belief narrative genres, legend, epic poem, a curse, a blessing, a proverb). Copic’s relationship to time (day/ night, past/ present, history/ legend) and space, supernatural beings, life and death, reality and fiction, is also subject to an ambivalent vision. In this sense, this feature is not just an emotional layer or the ambivalent reaction of the reader, rather deep currents, the internal structure of Branko Copic’s literary works.

This paper takes a comparative look at the experiences of D. H. Lawrence and James Joyce during the Great War with regard to their exiled and outsider positions, and the solitude they experienced and expressed in their letters written during the war. Their letters, therefore, are our primary corpus. We have shown that both writers cultivated similar modes of heroic solitude and isolation, assuming a posture recognised as a part of symbolist cultural and aesthetic habitus. Their stance is coupled with contempt for literary establishments and for popular opinion. The emphasis is, therefore, on the marginal, solitary condition of these two artists in a context of general catastrophe, from which they sought to distance themselves by adopting their particular versions of artistic “priesthood” and exclusive dedication. Our study of this correspondence is envisaged as a contribution to literary history and to the understanding of modernism as a moment of cultural, political, and human crisis augmented with the chaos brought about by the Great War.

The paper examines a recently discovered Serbo-Slavonic manuscript of the Apocrypha on Joseph the Beautiful, kept in the Sokolov Collection of State Historical Museum in Moscow. Based on the analysis, its position among other known manuscripts in Serbo-Slavonic manuscript tradition is assessed, and the question of its belonging to a particular apocryphal group on Joseph known as The Sermon of Ephrem the Syrian is examined. Likewise, linguistic and orthographic, as well as stylistic, characteristics of the preserved text are determined.

This paper primarily presents the terminological precision of fixed form poems of Romance origin, the emergence and prevalence over the centuries in various literatures, and the basic characteristics of sestina as a complicated and demanding form of strict order. For poets, achieving the model demanded by the form was on the one hand a challenge during the development of their creative skills, while on the other hand it was a confirmation of their talent. Thereafter, the use of this Provencal-Italian form in the poetry of Ivan V. Lalic is highlighted. He was the only one of all the poets of Serbian neosymbolism who tested his skills in meeting the established regulations of sestina.

The paper analyses the problems of translation of specific groups of words from Serbian into Italian in the novel Trifle-shop “Lucky hand” by Goran Petrovic. Starting from the translation of the title of the novel, in Italy published under the title 69 cassetti (69 drawers), the analysis follows the problems of translation of specific groups of words with special reference to their semantics. The analysis focuses on the phrases difficult for translation, which are directly related to the culture of the Serbian people, as well as on the expressions with characteristics of archaic, colloquial speech or words of foreign origin, and on the compound words that are not characteristic of Serbian literary language but are the main characteristics of the writer’s literary style. The analysis and comparison of the translator’s choices of particular Italian words as the equivalents of the original Serbian words shows that the main problem of a translator’s job is the question of what remains “lost in translation”, and also the problem concerning the translation of the style of a writer like Goran Petrovic.

The Poetry of Joseph Brodsky is a philosophy in verses, thoughts expressed by the words of the philosopher, which require deep contemplation. In Brodsky’s poetry, words transform into ideas and thoughts into infi nity. Such a transformation of voice and form can appear to be easy to reach, however, in order to achieve such levels of perfection, one needs not only to be talented, but also to possess the ability to observe and conclude. In Joseph Brodsky’s poetry, time and space are two primary categories. They are the fundamentals for his philosophical meditations, as well as a platform for the development of subjects such as being, thing, death, God and many more. The goal of this paper is to highlight the role of time, space, being, thing, death and God in the poetry of this Nobel Prize winning, poet.

By the concept of text interference Wolf Schmid implies the phenomenon of each character’s subjective speech penetrating the very speech of the narrator, the expression thus comprising interference between parts of the text as produced by the characters and those created by the narrator him/herself. He develops a model consisting of eight criteria, which help to distinguish the text of the narrator from that of the characters. The aim of the paper is to implement this model to the analysis of the narrative techniques, i.e. the techniques of conveying speech and thoughts of both the characters and the narrator, used in Gretchen, a contemporary German novel, written by Ruth Berger. In the analysis, special attention is paid to the categories of modus (focalisation) and voice as defi ned by Genette’s theory of narrative discourse.

This paper primarily deals with Egeric’s interpretation of Đorđe Jovanovic’s opus and aims at demonstrating that the book Rec u vremenu is not at the same standard as some of Egeric’s other achievements, primarily with respect to ideological vocabulary used therein. It is also noted that in general, such an approach towards pre-war literature was typical for modern post-war Serbian critics (up until the 1990s) and that the nature of anti-dogmatic critics’ attitudes towards pre-war writers and critics is problematised. It is also pointed out that this mainly concerns insufficiently clarified ideological relations within which there are both illogicity and inconsistency and emphasised that, in the opinion of the author, there exists not only anachronism but also unviability within such literary – historical attitudes.

This paper deals with the processes of allonym development, that is, forms of proper names of foreign origin. Their existence is a result of different ways through which the same onomastic unit (through mediator language) is linked to Serbian onomastics. Unless this unit is recognized, there is a danger of different forms of the same unit being treated as entirely contrastive onomastic units.

The paper opens with Danojlic’s critique of Ducic’s poetry from the cycle of Suncane pesme ( Sunny poems ). In phrases such as ‘exact description’ and ‘a perfectly displayed extract of reality’, which Danojlic uses in his critique, lies the key to understanding the post-symbolist expression of both poets. In Ducic’s, as well as Danojlic’s, poems these extracts reflect the mystical unity of both the visible and invisible side of the world, but it is Danojlic who, in his collection named Cistine ( Open spaces ) of 1973 and in his later works, too, in a lyrical description, under close scrutiny, notices in them a chain of minute movements, sensory palpitation and micro-happenings. For that purpose, he deploys dated words, euphonic frictions, as well as elliptic syntax, in a lyrical report on the current changes in the field of description. He applies the strategy of minute description, naming everything that enriches the visible world which can be named. Along with the procedure of maximal concretization of description, Danojlic applies his own version of Baudelairean ‘wood of symbols’, the world seen as a book or a text, comprised of a multitude of natural particles around us.