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Since the 1950s, we have seen a steady increase in the usage of the prefix meta (gr. ... change of place, order, state, nature) in literary and theories of visual art. This paper revisits the terms containing this prefix in the theories of arts: metatext, metafiction, metapicture, metamedia, and metafilm. The paper also seeks to isolate the basic premises of these theories in order to more closely determine the prefix meta in the field of visual arts. The point of departure of this examination is Gerard Genet's definition of metatext, since it is most widely applied and, to a greater or lesser extent, included in the definitions of related terms. All these terms are generally used to denote those works where some kind of change of state or place has occurred, works that take a critical attitude towards other works, or which bear a distinct self-awareness or self-reference. The paper takes into account referential theorists and examples of artwork that can be considered exemplary of the definitions. The examination of these terms shows that, despite their different interpretations, they always serve to denote the works characterized by the creation of another level of representation, which does not have to be included in the work itself, but can be the reality itself, thus consciously shifting the boundary between the artwork and reality. [ABSTRACT FROM AUTHOR]

This paper emphasizes the authority of the medieval text over the expression developed as a form of folk creation. Taking certain elements of medieval poetics into account -- inseparability of Christianity from the written text, the meta historical concept of factography and the sacredness of the word (Word) -- this paper compares the narrative rationalization of the key motivational elements in the two frameworks -- Saint Prince Lazar's choice of the Kingdom in Heavens. Although the martyrly summary of the events of the Battle of Kosovo initiates the creation of numerous texts belonging to different genres, a special review of the text on Saint Prince Andonija Rafail Epaktit is undertaken. By building the narrative character of his text, Andonije Rafail intervenes as the author in multiple ways. The emphasis is on the specificity of the intertextual connection during the description of the martyrly death, in a way and through symbols different from those used by other authors of the age who wrote about Prince Lazar and the Battle of Kosovo. [ABSTRACT FROM AUTHOR]

Vasko Popa's poetry represents a part of mandatory curriculum in primary and secondary schools, which necessarily results in the expansion of its primary readership, which imposes the need to answer questions about the possibility of teaching interpretation that will enable its interpretation and understanding. The paper addresses Popa's cycles of poems „List", „Landscapes", „The Little Box", „Far Within Us", „Give Me Back My Rags", „Games" and „One Bone to Another". The methodical approach that will enable students to experience and understand the poems will depend on the poetic material and the poetic procedure. The aim of the paper is to consider certain poetic features of Popa's poetry that contribute to the suggestiveness of the experience, imagination and understanding of the poem, as well as others that deny certain aspects of understanding the text for young readers. At the end of the paper, it is concluded that, although certain aspects of the poetic text remain inaccessible to students, other understood and experienced aspects are reflected positively as a whole and lead to stable outcomes during the teaching interpretation. This implies that it is necessary to introduce students to contemporary poetry, and to plan the teaching interpretation according to the levels of complexity of the interpretation of an individual poem. [ABSTRACT FROM AUTHOR]

The paper explores the relationship between technology and imagination in the poetics of Don DeLillo and Michelangelo Antonioni, as reflected in DeLillo's Libra (1988), Underworld (1997), Falling Man (2007) and Antonioni's Blow-Up (1966). The plot of Antonioni's cult film, loosely based on Cortázar's short story „Las babas del diablo," is well-known: the protagonist, a professional fashion photographer, believes he has unwittingly captured a murder with his camera. The discovery is made in the scene in which he frantically makes a series of blow-ups in the hope of finding clues to the mystery thus reclaiming the past. His belief in the power of photography borders on fantastic, and the paper sets out to revisit this phenomenon in the context of the works of Don DeLillo, who has acknowledged his indebtedness to the European cinema, Antonioni included. In DeLillo's novels characters repeatedly try to find the truth which escapes them in their everyday experience through the power of technology, principally the camera, which, as Walter Benjamin noted, has the paradoxical (and sublime) capacity to represent the past as if it were „Here and Now". Indeed, the photograph as „memento mori" (Sontag) or a „micro version of death" (Barthes) is a little more than a metaphor in both Antonioni and DeLillo's murder mysteries, which abound in dead bodies, or bodies soon to be dead, captured in still photographs or sequences of images, enlarged and super-slowed, from the horrifying sight of Kennedy's exploding head recorded by Abraham Zapruder to the „horrific beauty" of the „Falling Man" shot by Richard Drew. Curiously enough, both Antonioni's and DeLillo's characters seem to call into question the nature of still and moving images, as the specters from these snapshots and videos haunt them, teetering between the real and the imaginary. [ABSTRACT FROM AUTHOR]

With the developmen t of electronic literacy and the dominance of printed text over handwritten text, the need to know the rules of word division at the end of a line is decreasing. However, it is inevitably actualized when writing school written assignments. In this paper, therefore, we bring an excerpt from a broader study dealing with the orthographic norm in the written assignments of high school students of different educational profiles and directions in the Republic of Serbia. The goal is to determine the orthographic characteristics of more than 3 000 written assignments from the subject the Serbian Language and Lterature in a separate spelling area - Dividing words at the end of the line. We also pay attention to determining the representation and frequency of errors according to the age of the students, the school they attended and the assessment of the written task. The research corpus was examined by a descriptive and analytical method. The results of the research showed that the dominant mistake of the high school students was in cases when the consonant is in a position between two vowels at the end of the line, and they often avoid the division whatsoever. The rules of word division at the end of the line are the least followed by the students of the technical high school, while the weakest achievements in this spelling area were shown by both first-year pupils and high school graduates. The grades that students receive on written assignments are in line with the representation of errors in them. The current findings confirm the primary hypothesis that more attention should be paid to the issue of following the orthographic norm in high school teaching practice when it comes to word division at the end of a line. In the final part, the paper is enriched with reflections on the possibilities of improving the teaching practice in secondary schools, as well as the orthographic literature in order to change the current situation when it comes to the examined area of orthography. [ABSTRACT FROM AUTHOR]

Gregory of Nazianzus is considered to be one of the most important Christian authors of the late antiquity, both in terms of his role in developing Christian doctrine as well as language and literary style. In this paper I analyze one segment of his Oration 8, an encomium to his deceased sister Gorgonia, for which I find that is mistakenly translated and interpreted in the majority of relevant publications. This traditionally wrong interpretation led to confusion regarding the understanding of certain theological positions of the author (his attitudes towards the meaning of the sacrament of Eucharist, so that medieval beliefs are often ascribed to him), as well as his peculiar theological-philosophical poetics as a whole, where, I believe, such an interpretation cannot fit in. [ABSTRACT FROM AUTHOR]

This paper investigates the symbolic and political identity of Belgrade and Sarajevo in Andrić's novel The Woman from Sarajevo. By combining the theoretical assumptions of cognitive narratology with the concepts of narrative/cultural/symbolic geography and culture of memory, odonyms (street names) and commemorative names of various cultural/state institutions in The Woman from Sarajevo have been interpreted. We established that odonyms (Njegoševa, Smiljanićeva, Stiška and Aleksandrova) functioned as the narrative means of political representation and various national ideologies of the past, which has opened up possibilities for defining Andrić's The Woman from Sarajevo as a political novel. The modern spirit of Andrić's narrator has problematized Rajka's attitude towards the grave/death in Sarajevo. Striving only to restore her father's wealth, to regain the lost family property, Rajka believed in the renewal of individual life through the mediation of descendants. Rajka Radaković's consciousness manifested the process of dememorization, the disappearance of symbolic signifiers from Belgrade's space. Thus, the heroine of Andrić's novel unconsciously became the bearer of the politics of a new identity. [ABSTRACT FROM AUTHOR]

Multimodality in teaching is gaining more attention in contemporary research and scientific literature. It is a special communication that relies on modes, such as pictures, graphs, audio, videos, maps, etc. which by combination create certain meanings in order for the modes to be adequately combined, multimodal literacy is necessary. The aforementioned literacy in teaching helps students to create multimodal texts and tasks in a digital environment. Therefore, the aim of this paper is to examine how first and second-year students of Hispanic Studies at the Faculty of Philology in Belgrade manage in a digital environment working on a multimodal task, as well as how they use digital tools and the Spanish language. Student presentations were exhibited and recorded via the Zoom platform, and data were collected through the observations of the researcher. Also, the research method used for research purposes is the analysis of authentic teaching materials. First-year students presented a topic about health in Spanish via the Moodle platform, while second-year students presented and created their own virtual tour in Spanish using the Padlet platform. For the analysis of multimodal activities, the criterion related to the use of modes and the creation of multimodal texts was used. The results of the analysis showed that most students were successful in creating multimodal activities, that they used mods in a creative way and that in this case it was possible to implement this type of activity because the students of this faculty and the study program are adapted to frequent application of new technologies on assignments using the Spanish language. [ABSTRACT FROM AUTHOR]

This paper examines discursive strategies in two genres of public discourse whose common goal is the delegitimization of the other socio-political factor, ideologically opposed to the deictic center. The research was based on the cognitive-linguistic approach to discourse analysis. The corpus consists of two thematic units: the July protests (2020) (media discourse) and the relationship between the government and the opposition (2018-2021) (mesopolitical discourse). The research involves the identification of discursive strategies and a description of the underlying cognitive operations that evoke the desired content on a conceptual level. Research has shown that structural configuration and framing (metaphorization or categorization) are the most common strategies for achieving the intended effect, and that differences in ideological reproduction arise from the manipulation of entity positioning strategies in the discourse space. [ABSTRACT FROM AUTHOR]

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The present paper examines the novel Breakfast at Tiffany's by Truman Capote and its adaptation into Blake Edward 's movie within the framework of John Fiske's popular culture theory. Popular culture is present in many aspects of our experience: books, music, food, travel, movies and other content that surrounds us daily. Broadly speaking, the term 'popular' represent some of the ways of cultural modeling of consumer goods. According to John Fiske, popular culture is a culture of "subordinated" and "disempowered" who do not agree to be "submissive". Instead, they actively oppose the social system by reinterpreting the offered goods, according to the requirements of their own needs. We interpret the novel as an expression of human experience modified into movie discourse, so the interpretation of the novel (main text) and its adaptation into the movie (metatext) provides meaning making, while discourse of popular culture represents production of meaning. The concluding remarks indicate that the elements of popular culture represent the socio-historical framework of the narrative, which aims to present the birth of the modern (American) woman -- Holly Golightly in the megalopolis of New York City. Moreover, elements of popular culture provide a framework for characterization and identity construction of characters and the city, becoming an etnosocioal testimony of the American culture in the 1940s and 1950s. [ABSTRACT FROM AUTHOR]

In order to examine the students' point of view, whether the online exam in the subject Translation from German to Serbian can be applied as an effective way of assessment of knowledge and skills, an empirical study was conducted at the Faculty of Philology and Arts, University of Kragujevac. The online exam was carried out through Moodle by using a screen recording program instead of proctoring services. The results of the evaluation of the online exam presented in this paper are based on the results of the author's pre-study. Unlike the pilot phase described in the pre-study, the exams of the students (n=58) were graded by the examiner and a more comprehensive survey was created for the needs of the research. The survey was analysed qualitatively and quantitatively. The results show that the participants generally have a positive view of the e-exam, regardless of the grades. However, they believe that a way should be found to prevent cheating, to solve possible technical problems (e.g. the Internet, recording program, etc.) and to reduce anxiety and fear. As the most useful aspects of the online exam, they highlight the possibility of using e-dictionaries and search engines which are not available to them when they take an exam on site. Furthermore, they appreciate the fact that they have more time for proofreading and trying out different translation techniques. Based on the results, it can be concluded that the students' experience is mostly positive regarding various aspects of the implementation of the online exam during the COVID-19 pandemic and that the online exam can be recommended as an effective tool for assessing translation knowledge and skills, if e-cheating prevention measures are to be taken. [ABSTRACT FROM AUTHOR]

The endocentric antecedent represents the interference of the lexical-semantic and formal antecedent. In this paper, the term endocentric antecedent represents an antecedent that refers to a group of syntactically related words, in which the subordinate member is functionally equivalent to the group, i.e. it is substantivized. This antecedent may be referred to cataphorically or anacataphorically. In the case of a referential expression, the reference to an endocentric antecedent is anacataphoric. Anaphora can be conceptual in which case only the denotation of a noun expression is taken over. Such an endocentric antecedent with a default lexeme and a restrictive adjective clause can be exclusive, meaning that it belongs to the set of entities from which the denotation is taken, and the anaphora is excluded from the set and stands out, or inclusive, outside the set of entities referred to by the conceptual anaphora, included in that set. In both cases, the lexeme referred to by the conceptual anaphora for the purpose of denotation and the antecedent are not in the relationship of co-reference, but are cosignificant. Anaphora can also be referential, in which case reference is considered in addition to the denotation. This anaphora refers to referential expressions (proper nouns and personal pronouns) and non-referential expressions (a common noun from which the denotation is taken - if the content of the adjective clause also refers to the class, there is no subsetting, if the adjective clause is non-restrictive, then anaphora is likewise referential). Such anaphoric references enable a wide range of implied lexemes in the antecedent and their ellipsis. That is, this ellipsis of the noun from the antecedent is made possible by the linguistic context. Therefore, the forcedence of the antecedent is crucial in achieving the specificity of the referent, and thus the informativeness of the discourse. [ABSTRACT FROM AUTHOR]