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Copyright of Nasleđe is the property of University of Kragujevac, Faculty of Philology & Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Nasleđe is the property of University of Kragujevac, Faculty of Philology & Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Nasleđe is the property of University of Kragujevac, Faculty of Philology & Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Nasleđe is the property of University of Kragujevac, Faculty of Philology & Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Nasleđe is the property of University of Kragujevac, Faculty of Philology & Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Nasleđe is the property of University of Kragujevac, Faculty of Philology & Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Nasleđe is the property of University of Kragujevac, Faculty of Philology & Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Nasleđe is the property of University of Kragujevac, Faculty of Philology & Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Nasleđe is the property of University of Kragujevac, Faculty of Philology & Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Nasleđe is the property of University of Kragujevac, Faculty of Philology & Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Nasleđe is the property of University of Kragujevac, Faculty of Philology & Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Nasleđe is the property of University of Kragujevac, Faculty of Philology & Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Nasleđe is the property of University of Kragujevac, Faculty of Philology & Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Nasleđe is the property of University of Kragujevac, Faculty of Philology & Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Nasleđe is the property of University of Kragujevac, Faculty of Philology & Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Nasleđe is the property of University of Kragujevac, Faculty of Philology & Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Nasleđe is the property of University of Kragujevac, Faculty of Philology & Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Nasleđe is the property of University of Kragujevac, Faculty of Philology & Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Nasleđe is the property of University of Kragujevac, Faculty of Philology & Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Nasleđe is the property of University of Kragujevac, Faculty of Philology & Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Nasleđe is the property of University of Kragujevac, Faculty of Philology & Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Nasleđe is the property of University of Kragujevac, Faculty of Philology & Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Nasleđe is the property of University of Kragujevac, Faculty of Philology & Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Nasleđe is the property of University of Kragujevac, Faculty of Philology & Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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]

Project-based learning has become an inevitable part of teaching English since it is regarded as a contemporary educational concept that enables the purposeful use of language. The main aim of the paper was to investigate the effectiveness of the use of this approach for improving the English language, which was done in the following ways: 1) by assessing the test results concerning language systems (vocabulary and grammar) and skills (reading, listening, speaking, writing), before and after the use of the project-based learning approach, and 2) by mapping students' attitudes concerning the usefulness of this approach for improving language systems (vocabulary and grammar) and skills (reading, listening, speaking, writing). The quantitative research was conducted on a sample comprising 30 first-year students at the Department of English Language and Literature at the Faculty of Philosophy in Kosovska Mitrovica. The data were gathered by means of the upper-intermediate English tests and a designed questionnaire. They were analysed by applying adequate procedures for statistical data analysis of the SPSS 20.0 program. The results indicate the successful use of project work for improving the English language. In this respect, they provide the basis on which to justify its relevance. [ABSTRACT FROM AUTHOR]

The present paper reports on the results obtained in a study that aimed to explore the metaphors of the MIND. Since the complexity of the domain in question exceeds the scope of one paper, this paper's focus is limited to cognition, or more specifically, to the aspects of mental activity such as learning, understanding, and knowing. The main aim is to determine the source domains that structure each aspect in English and Serbian, to formulate the metaphorical mappings, and explain their metaphorical nature. By comparing the results of our cross-cultural research, we also seek to identify the similarities and differences regarding the metaphorical conceptualizations in the two languages, hoping to contribute to the exploration of universality of the identified metaphors. The results indicate that the conceptual metaphors that get utilized in the representation of the given aspects are largely structured by the CONTAINER, TERRITORY, VISION, VALUABLE COMMODITY, and PHYSICAL CONTROL domains, which are understood in terms of the CONTAINER, MOTION, and MANIPULATION image-schemas. [ABSTRACT FROM AUTHOR]

Copyright of Nasleđe is the property of University of Kragujevac, Faculty of Philology & Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Nasleđe is the property of University of Kragujevac, Faculty of Philology & Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Nasleđe is the property of University of Kragujevac, Faculty of Philology & Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Nasleđe is the property of University of Kragujevac, Faculty of Philology & Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Nasleđe is the property of University of Kragujevac, Faculty of Philology & Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Nasleđe is the property of University of Kragujevac, Faculty of Philology & Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Nasleđe is the property of University of Kragujevac, Faculty of Philology & Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Nasleđe is the property of University of Kragujevac, Faculty of Philology & Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Nasleđe is the property of University of Kragujevac, Faculty of Philology & Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Nasleđe is the property of University of Kragujevac, Faculty of Philology & Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Nasleđe is the property of University of Kragujevac, Faculty of Philology & Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Nasleđe is the property of University of Kragujevac, Faculty of Philology & Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Nasleđe is the property of University of Kragujevac, Faculty of Philology & Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Nasleđe is the property of University of Kragujevac, Faculty of Philology & Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Nasleđe is the property of University of Kragujevac, Faculty of Philology & Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Nasleđe is the property of University of Kragujevac, Faculty of Philology & Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Nasleđe is the property of University of Kragujevac, Faculty of Philology & Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The main aim of the paper was the representation of characters found in the dramatic works of Danilo Kiš. The dramas used include Night and Mist (Noć i Magla), first published in 1968, Parrot (Papagaj) from 1970, as well as The Wooden Coffin of Thomas Wolfe (Drveni sanduk Tomasa Vulfa), written for television in 1974, and finally Mechanical Lions (Mehanički lavovi), from 1980. The paper comes as a result of analyzing the main characters of the aformentioned dramas solely through the image of their jewish identity, the holocaust and the aftermath the same had on the overall being of the characters, thus forming a biography in their honour. It is clear after that most of Kiš's Jewish dramatic characters suffer from psychological trauma after the Holocaust and most are yearning to preserve their memories through remembrence. The paper is also the result of research conducted in the course which was part of a Center for the Studies of Remembrance. [ABSTRACT FROM AUTHOR]

This paper aims to present and synthesize biographical data of one of the main characters in Danilo Kiš's novel Hourglass, namely, Eduard Sam. First, we shall list all of his personal information such as the date of birth, address, marital status, family relations, work experience, pastime activities, etc. Then, we shall present the staircases of life and death as they appear within the novel. Since the character in question is of Jewish origin, the paper will examine the recurring signs of anti-Semitism as well as the physically and emotionally debilitating consequences of such national identity. Eduard Sam is someone who is lucid, not mad, with his lucidity emerging as a result of his ceaseless speculation about the terror of death within a concentration camp. [ABSTRACT FROM AUTHOR]