Lipar 48

XIII / 48 / 2012.
Editorial Board
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aslav Nikoli, Assisstant Professor, PhD

Faculty of Philology and Arts, Kragujevac
Editor in Chief
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Vladimir Polomac, Assisstant Professor, PhD

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Nikola Bubanja, Assisstant Professor, PhD


- ,
Jelena Arsenijevi, Assisstant, PhD

Radomir Mitri
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prof. Persida Lazarevi di Giakomo, Full Professor, PhD

he G. dAnnunzio University, Pescara, Italia
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Jelenka Pandurevi, Assisstant Professor, PhD

Faculty of Philology in Banja Luka, Bosnia and Hercegovina
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Svetlana Kalezi, Assisstant Professor, PhD

Faculty of Philosophy in Niki, Montenegro
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Ivan Maji, Assisstant Professor, PhD

Faculty of Philosophy in Zagreb, Croatia
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Ostap Slavinski, Assisstant Professor, PhD

Faculty of Philology, Ivan Franko National University of
Lviv, Ukraine
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Borjan Janev, Assisstant Professor, PhD

University of Plovdiv, Plovdiv, Bulgaria

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Editorial assistant
Bojana Veljovi
Referees
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prof. Aleksandar Jerkov, Associate Professor, PhD

prof. Ala Tatarenko, Associate Professor, PhD
Jelenka Pandurevi, Assisstant Professor, PhD
prof. Dalibor Soldati, Full Professor, PhD
prof. Anelka Pejovi, Associate Professor, PhD
prof. Persida Lazarevi di akomo, Full Professor, PhD
prof. Radmila Nasti, Full Professor, PhD
Slobodan Vladui, Assisstant Professor, PhD
prof. Radivoje Mladenovi, Associate Professor, PhD
Sanja urovi, Assisstant Professor, PhD
prof. Dragan Bokovi, Associate Professor, PhD
Sanja Paji, Assisstant Professor, PhD
prof. Ivica Radovanovi, Full Professor, PhD
Aleksandar Nedeljkovi, Assisstant Professor, PhD
Tomislav Pavlovi, Assisstant Professor, PhD
prof. Slobodan Lazarevi, Associate Professor, PhD
prof. Mirjana Mikovi Lukovi, Associate Professor, PhD
prof. Aleksandar Petrovi, Associate Professor, PhD
prof. Katarina Meli, Assistant Professor, PhD
Duan ivkovi, Assistant Professor, PhD
Vladimir Polomac, Assistant Professor, PhD
Nikola Bubanja, Assistant Professor, PhD
aslav Nikoli, Assistant Professor, PhD
, ,
Journal for Literature, Language, Art and Culture
XIII / 48 / 2012
Year XIII / Volume 48 / 2012

University of Kragujevac

20-30 ............................. 9

............................................................... 23
Jeea Oae

................................. 39

............................................... 59
Tijana Matovi
Negating the Human: Political Correctness

in David Mamets Play Oleanna ......................................... 73
aa . aoje
O o oa a: o eo
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............................ 231
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.
Laurie Bauer, Introducing

Linguistic Morphology....................................................... 247

()
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2012.
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1 jelica.veljovic@filoloski.rs
2 , ingenioso, , . , El ingenioso hidalg Don Quijote de la Mancha.
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4 Falta el libro donde se demuestre al detalle que toda novela lleva dentro, como una ntima filigrana,
el Quijote, de la misma manera que todo el poema pico lleva, como el fruto del hueso, la Iliada. ( , , ,
, , . )
35

1981: M. Bakhtin, The Dialogic Imagination: Four Essays by M. M. Bakhtin,
Austin: University of Texas Press.
1989: . , , : .
2000: . , , : Zepter Book
World.
1999: . C. Graf, When an Arab laughs in Toledo: Cervaness interpellation
of Early Modern Spanish Orientalism, Diacritics, Vol. 29. No. 2, Summer 1999, The
Johns Hopkins University Press, pp. 68-85 <http://www.jstor.org/stable/1566455>
(22.06.2012).
1979: . , , : .
(.), , : , 181-192.
1982: . ,
, : .
2004: , , :
, 103-137
1987: W. L. Reed, The problem of Cervantes in Bakhtins Poetics, Cervantes:
Bulletin of the Cervantes Society of America, No. 7, The Cervantes Society of
America, pp. 29-37 <http://users.ipfw.edu/jehle/cervante/csa/articf87/reed.htm>
(25.06.2012.)
2011: . , , :
, 18, 27-40.
2005: M. Jofr, Don quijote de la Mancha: Dialogismo y carnavalizacin,
dilogo socrtico y stira menipea, Revista chilena de literatura, No. 67, Noviembre
2005, Universidad de Chile, pp. 113-129 http://www.jstor.org/stable/40357139
(07.05.2012).
Jelica Veljovi / Teoria de novela de bajtin y Don Quijote de la Mancha de Miguel
de Cervantes
Resumen del trabajo en la lengua espaola / Siguiendo camino de la teora de la
novela que estableci Bakhtin en su obra terica, demostraremos los puntos del encuentro entre sus ideas novelescas y caractersticas de la obra de Miguel de Cervantes
Saavedra, El ingenioso hidalgo Don Quijote de la Mancha. Asimismo, intentaremos
mostrar que Cervantes no solamente sembr la semilla para novela polifnica, que luego
desarrollo Dostoievski como Bajtin lo afirma, sino que la famosa novela de Cervantes
es novela polifnica. Para empezar, Bajtin muestra que la novela debe novelar todos
los gneros literarios, integrndolos en su estructura para darlos una nueva forma y
sentido. Esto es lo que Cervantes quiere conseguir parodiando la novela caballeresca
y otros gneros literarios cannigos, muy populares de la poca, lo que el mismo nos
indica en el prologo de la primera parte del Quijote. De este modo, Cervantes logra
poner los gneros de ideologa pica en contacto con la contemporaneidad, corporeizando la ideologa caballeresca dentro de un hombre contemporneo hidalgo
manchego Alonso Quijano.
Uniendo la dimensin contempornea que est en un continuo desarrollo, y una
distancia pica con su ideologa jerrquica, Cervantes cumple uno de los mayores
condiciones de la novela que Bajtin impone, presentando y deconstruyendo las fuerzas
centrpetas que contiene el discurso pico y caballeresco. Cervantes consigue esto
incorporando diferentes variedades lingsticas, formando as una galera de todos
los estratos sociales de Espaa del siglo XVII. Cabe destacar que Cervantes deja a
todas estas voces expresarse libremente, dndolos oportunidad de ser odos a travs
de un dilogo extendido. Precisamente esta necesidad de dilogo y existencia de un
flujo de mltiples voces y conciencias es lo que Bajtin denomina como polifona.
36
/ , ,
Polifona como tal puede ser lograda a travs de un dialogismo que es vital y que
contiene una encrucijada igualatoria de las lenguas y sus representantes sociales,
tanto como las observaciones del mundo y ideologas vitales que llevan en su interior. Cervantes abarca esta diversidad primordialmente a travs de la unin de Don
Quijote, el caballero andante como representante de ideologa pica, con Sancho
Panza, el escudero de los fondos bajos de la sociedad. Cervantes les da un espacio
igual de expresarse, cruzndolos con diversas personas y discursos de Espaa. Todos
los dilogos en la novela llevan en si concepto de heteroglosia, que es un recurso fundamental para construir un narrativo polifnico. Adems de integrar varias lenguas,
dialectos, y gneros literarios en su novela, Cervantes logra esta polifona incluyendo
dos narradores, cuyas voces el mismo transpone en su texto la voz de Cide Hamete
Benengeli, el crnico rabe, y la voz del traductor aljamiado. Ponindose a s mismo
en el tercer nivel da narracin, Cervantes se distancia de la autoridad narrativa que
tiene como autor, cumpliendo obligacin bajtiniana de la extensin de la conciencia
artstica y de la neutralizacin del estilo personal del autor. As podemos observar El
Quijote como un dilogo entre varios narradores, que est terminado con un saludo
final, que termina la novela. Aqu debemos poner de relieve que Bajtin dijo que una
novela polifnica permanece en dilogo hasta el mismo final, y Cervantes no solo
que termin la novela en forma de una despedida, sino que dej la conclusin abierta,
puesto que sabemos solamente que sucedi con Alonso Quijano, y no con Don Quijote.
As Cervantes como narrador permanece en dilogo con todos los lectores que llegan
en contacto con su novela.
Al fin, Bajtin dice que los hroes literarios de la novela polifnica estn en desarmona
con el mundo, pero que al mismo tiempo son personajes reales e independientes. Ms
aun, para Bajtin el hroe es un hombre-idea, que vive para esta idea, que vive en l
mismo, y dura hasta que esta idea le pueda dar vida. Podrn esto ser palabras que
describen a Don Quijote? Definiendo de este modo las caractersticas literarias de
un narrativo denominado como novela polifnica, Bajtin implcitamente describi la
novela de Cervantes y su hroe, aunque no lo expresa, poniendo como innovador de
la novela polifnica a Dostoievski, que tanto admir a la obra de Cervantes. Nuestro
trabajo aqu fue tambin un paso hacia la afirmacin de Ortega y Gasset que: Falta
el libro donde se demuestre al detalle que toda novela lleva dentro, como una ntima
filigrana, el Quijote..., puesto que el concepto de la novela polifnica s es el concepto
de la novela moderna.
Palabras claves: polifona, dialogismo, heteroglosia, fuerzas centrpetas/centrifugas,
carnavalesco, parodia, novela, Cervantes
: 25. 2012.
2012.
37

821.111-14.09 .
Jeea Oae1
,

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39
Jeea Oae
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elevating, more amusing, more ready to awake with poetical enthusiasm, the philosophical reflection,
and the moral sentiment than the works of nature.) ( 1994: 652)
5 : ,
. 13. 1798. (Lines Composed A Few Miles Above Tintern Abbey, on
Revisiting The Banks Of The Wye During a Tour. July 13, 1798.)
6 : : . (Ode: Intimations
of Immortality From Recollections of Early Childhood.)
40
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(Our birth is but a sleep and forgetting:

The Soul that arises with us, our lifes
Star,

Hath had elsewhere its setting,

And cometh from afar:

Not in entire forgetfulness,

And not in utter nakedness,
But trailing clouds of glory do we come

From God who is our home:
Heaven lies about us in our infancy!
Shades of the prison-house begin to close

Upon the growing Boy,

But He
beholds the light, and whence it flows,

He sees it in his joy;
The Youth, who daily farther from the
east

Must travel, still is Natures Priest,

And the vision splendid

Is on his way attended;
At lenth the Man perceives it die away,
And fade into the light of common day.)
: ,
58-77
(Ode: Intimations of Immortality From Recollections of Early
Childhood)

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, , Lipar / Journal for Literature, Language, Art and Culture
41
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, , , , :
/
7 1798. .
8 2010: 48.
42
/ , ,
. (His cheeks were red as ruddy clover / His voice like voice
of three.)
, , :
,
, , !
,
, ,
,
.
(That evermore his teeth they

chatter,
Chatter, chatter, chatter still!
Of waistcoats Harry has no lack,
Good duffle grey, and flannel fine;
He has a blanket on his back,
And coats enough to smother
nine.)
, 3-8
(Goody Blake and Harry Gill, 3-8)
: ; / (Yet still
his jaws and teeth they clatter; / Like a loose casement in the wind).
.

, , , , ,
, :
;
, ,
,
.
(Goody Blake was old and poor;

Ill fed she was, and thinly clad,
And any man who passed her door
Might see how poor a hut she had.)
, 21-24
,
.
;
:
(God! who art never out of hearing,
O may he never be warm!)
! ,
!
, 99-100
,
, .

, , ,
.
. , ,
. ,
-
. , , , ,
43
Jeea Oae
, .
: , , ,
, , ; ,
.
,
.
-
(We are seven), (Michael), (Simon Lee), (Animal Tranquility and Decay),
(The Idiot Boy), (The Thorn),
.
. . ,
,
,
, , , .
(Expostulation and Reply), (Tables turned), (Tintern Abbey Revisited),
, (Immortality Ode)
(Resolution and Indipendence),
.9
(Expostulation and Reply)
(The Tables Turned)
. , , , ,
,
:
;
;
,
.

,
,
.
(The eye it cannot choose but see;

We cannot bid the ear be still;
Our bodies feel, whereer they be,
Against or with our will.
Nor less I deem that there are powers
Which of themselves our mind impress;
That we can feed this mind of ours
In a wise passiveness.)
, 16-25
(Expostulation and Reply, 16-25)
9 : William Wordsworth, Poems in Two Volumes, London, 1807.
44
/ , ,
, : /
(Think you, mid all this mighty sum / O things for ever
speaking); :
/ (That nothing of itself
will come / But we must still be seeking?).
, :
? / / ! /
. (Where are your books? that light bequeathed / To Beings
else forlorn and blind! / Up! up! and drink the spirit breathed / From dead
men to their kind.)
(Tables
turned). , ,
:
, / (Come forth into the light of
things, / Let Nature be your teacher) :
/ , / ,
/ . (One impulse from a vernal wood/May
teach you more of man, / Of moral evil and of good, / Than all the sages
can.) ,
,
, :
/ /
, / (She has
a world of ready wealth, / Our minds and heads to bless / Spontaneous
wisdom breathed by health, / Truth breathed by cheerfulness.).
, ,
, ,
, .
,
, , .

,
.
. :
/ , / / (Enough of
Science and of Art; / Close up those barren leaves; / Come forth, and bring
with you a heart / That watches and receives).
(Tintern
Abbey Revisited) ( 160 ), ,
45
Jeea Oae
.
,
, ,
, , .
(These beauteous forms,
Through a long absence, have not been
to me
As is a landscape to a blind mans eye:
But oft, in lonely rooms, and mid the din
Of towns and cities, I have owed to them
In hours of wearyness, sensations sweet,
Felt in the blood, and felt along the
heart;)
, 23-28
(Tintern Abbey Revisited, 23-28)
,
,
:
, ,
,
, ,
,
;
,
, , (serene and
blessed mood), (acts of kindness and of love),
,
: , . , , , , , .10

, .
, , . ,
, , ,
, .
,
, : , /
, / (That time is
past, / And all its aching joys are now no more, / And all its dizzy raptures).
, :
.
, . : ,
,
.
10 , , ,
o, ,
. (Wordsworths concept of memory then facilitates not nostalgic reminiscence, but the information of a backdrop against
which we can consider, and so feel, the intricacies of our present condition and how this might affect
our being and that of others.) ( 2010: 10).
46
/ , ,
, ,
11:
(... well pleased to recognise
In nature and the language of the sense,
The anchor of my purest thoughts, the
nurse,
The guide, the guardian of my heart, and
soul
Of all my moral being.)
, 107-111
(Tintern Abbey Revisited, 107-111)
...
,
,
,
, ,
.
(Resolution and
Indipendence) (I-V ), :
; / , : / : / ;
/ , (I heard the woods and
distant waters roar; / Or heard them not, as happy as a boy: / The pleasant
season did my heart employ: / My rememberances went from me wholly; /
And all the ways of men, so vain and melancholly). , , , . , ;

, (The hare is running
races in her mirth; / And with her feet she from the plashy earth / Raises
a mist, that, glittering in the sun / Runs with her all the way,wherever she
doth run); (I heard the sky-lark warbling in the sky);
, , (Dim sadness and blind thoughts, I knew not, nor could name).
, ; (Chatterton) ,12 (The sleepless Soul that
perished in his pride); , ,
(Of Him who walked in glory and in joy, / Following his plough, along the
mountain-side); , ,
(We Poets in our youth begin
in gladness; / But thereof come in the end despondency and madness).
VIII , , ,
, , , : , /
11 ,
, , . (As with Intimations Ode, the poet desired to emphasize restitution, compensation, gain, rather than loss.) ( 2007: 26)
12 (Thomas Chatterton) (1752-1770)
1770, , .
47
Jeea Oae
(His body was bent double, feet and head / Coming

together in lifes pilgrimage). , : ? /
(What occupation do you there
pursue? / This is a lonesome place for one like you).
, : XII ,
, (At length, himself unsettling, he
the pond / Stirred with his staff, and fixedly did look / Upon the muddy
water, which he conned, / As if he had been reading in a book);13 ,
, ,
(His words came feebly, from a feeble chest, / But each in
solemn order followed each, / With something of a lofty utterance drest
/ Choice word and measured phrase, above the reach / Of ordinary men;
a stately speech).14 , XVII ,
; ,
, , , . , :
: ; /
, / , , , ; / . (My former thoughts returned: the fear that
kills; / And hope that is unwilling to be fed; / Cold, pain, and labour, and all
flesly ills; / And mighty Poets in their misery dead).

, , (Perplexed and
longing to be comforted) , ,
: , ? (How is it that you
live, and what is it you do?).

, , (XVIII ).
,

, 1800. :15 ...
13 , , / , /
, , / : ( 78-81)
14 , , / , /
/ , / ;
; (92-96)
15 ? ? ?
: , , , ,
, ,
; ,
. (What is Poet? To whom does he address himself? And what language is to be expected from him? He is a man speaking to men: a man, it is true, endued with more
48
/ , ,
/ ; / . / ; / ; (...said that,
gathering leeches, far and wide / He travelled; stirring thus about his feet
/ The waters of the pools where they abide. / Once I could meet with them
on every side; / But they have dwindled long by slow decay;). ,
, , ;
,
, ,
. ,
,
, ,
, ?
, .
: ... , /
/
(...when he ended, / I could have laughed myself to
scorn to find / In that decrepit Man so firm a mind.)
16, :
,
.
.
, .

, :
,17
.
lively sensibility, more enthusiasm and tenderness, who has a greater knowledge of human nature,
and a more comprehensive soul, than are supposed to be common among mankind; a man pleased
with his own passions and volitions, and who rejoices more then other men in the spirit of life that is
in him.); : ,
, . (The Poet must descend from
his supposed height, and in order to excite rational sympathy, he must express himself as other express
themselves.) ( : http://www.bartleby.com/39/36.html)
16 , ,

, ,
. (Whatever poem Wordsworth intended to write, in the
one that he did write the leech gatherer emerges as an equivocal figure whose monotonous wandering and wizened aspect cloud what hope or corrective lesson he seems to indicate, placing himto the
benefit of the poem, let me addin the same sinking spiritual boat as Wordsworth himself.) (
1992: 339).
17 , ( ), ,
[] .
49
Jeea Oae
: (Resolution and Indipendence).

, (Employment hazardous and
wearisome / And he had many hardships to endure!),
(And this way he gained an honest maintenance).
,
(But stately in the main).
(Immortality Ode) , . ,
,
,
. ,
, :
(Inmate Man),
( ,
), ,
( , )
, ,
, , , :

, ;
,
;

;

;
,
.
, 178-187
(Immortality Ode, 178-187)
(Though nothing can bring back the hour

Of splendour in the grass, of glory in the flower;
We will grieve not, rather find
Strenght in what remains behind;
In the primal sympathy
Which having been must ever be;
In the soothing thoughts that spring
Out of human suffering;
In the faith that looks through death,
In years that bring the philosophic mind.)

: ;

: . (Frederick Garber, writing
about the poem (in Wordsworth and the Poetry of Encounter), for instance, describes the meeting of
[Wordsworths] own uncertainties with the thorough certainties of the old man. Thus the stranger is
seen as showing the poet a better way to live and be.) (, 339).
50
/ , ,
/
(To me the meanest flower that blows can give / Thoughts that do often
lie too deep for tears).
: ,
.18
.19
: (The
Daffodils) (The Solitary Reaper). , , : (I wondered lonely as a cloud...).
;
. ,
, :
, / , / / ; / , / . (For oft, when on my couch
I lie / In vacant or in pensive mood, / They flash upon that inward eye /
Which is the bliss of solitude; / and then my heart with pleasure fills, / And
dances with the daffodils).
, , , ,
,
(Weltschmerz), :
? (Will no one tell me what she sings?).
, , (Highland Lass20) ,
, . , , ,
, :
/ , / ; / , ? / , , , / , ?
(Perhaps the plaintive numbers flow / For old, unhappy, far-off things, /
And battles long ago: / Or is it some more humble lay, / Familiar matter of
to-day? / Some natural sorrow, loss or pain, / That has been, and may be
again?). , ,
, , , 18 ,

. ( 1992: 481)
19 William Wordsworth, Poems in Two Volumes, London, 1807.
20 Highland , Lass .
51
Jeea Oae
(The still, sad music of humanity;21 All

the ways of men, so vain and melancholy;22 At lenght the Man perceives it
/ vision splendid/die away, And fade into the light of the common day;23
What man has made of man?;24 In the weakness of humanity25).
,

,
, .

, , ,
.

, , ,
(Lines written in Early Spring), . .
: / , / / (I
heard a thousand blended notes, / While in a grove I sat reclined, / In that
sweet mood when pleasant thoughts / Bring sad thoughts to the mind.)
,
, , ,
, , .
,
.26 ,
: , / /
, / (The birds around
me hopped and played, / Their thoughts I cannot measure / But the least
motion which they made, / It seemed a thrill of pleasure.).
, ,
, , .
21 (Tintern Abbey) ( 91)
22 (Resolution and Indipendence) ( 21)
23 (Immortality Ode) ( 76-77)
24 (Lines written in early spring) ( 8,24)
25 (The Ruined Cottage from The Excursion) ( 194)
26 (The Tables Turned):
/ , / ,
/ (One impulse from a vernal wood / May teach you more of man, / Of
moral evil and of good, / Than all the sages can). ( 21 24)
52
/ , ,
, ,
: , /
, / /
(If this belief from heaven be sent, / If such be Natures holy
plan, / Have I not reason to lament / What man has made of man?).
.
(Lucy Poems).
, , , ,
, , ,
. , , , .
: ,
( ). : (A slumber did my spirit seal), ...
(Three years she grew...), (She
Dwelt Among Untrodden Ways),
. .

(A Slumber did my Spirit Seal),
, earthly years
, . , earthly /:/ , year /j:/ . , , ,
, ,
(no motion; no force; neither hears;
nor sees)
, ( , with rocks, and stones, and trees).
,
rolled course,
, , .
( course , , , )
(rolled round , , ,
), (Rolled round in
earths diurnal course),
, , , .
... (Three years she grew...)
(She Dwelt Among
53
Jeea Oae
Untrodden Ways) ,
.
( , . ),

(aa), ,
, ,27
.
(Tintern Abbey).
,
.
( ),
, , , , ,
, , ,
: (She shall be
sportive as the fawn); /
(And hers the silence and the calm / Of mute incesnate things);
/ (The floating clouds
their state shall land / To her); / ;
/ /
; / /
(The stars of midnight shall be dear / To her;
and she shall lean her ear / In many a secret place / Where rivulets dance
their wayward round; / And beauty born of murmuring sound / Shall pass
into her face); / /
(And vital feelings of delight / Shall
rear her form to stately height / Her virgin bosom swell).
, She Dwelt Among the Untrodden
Ways, ( ) ( )
,
: , , , / . (But she is
in her grave, and, oh, / The difference to me!)
difference ,
, .
, ,
, :
(the untrodden ways),
27
, (Three , almost certainly means
she lived for three years after the I of the poem fell in love with her, not that she was a three-year-old
child when she died.) (, 1973: 153).
54
/ , ,
(there were none to praise), (few to love),

(hidden from the eye), (only one), (few
could know), (ceased to be). , ,
, . , ,
, ,
.
, , , ,
, ,
. - , ,
, .
(A Slumber Did My
Spirit Seal) ,
, , .

.

, , , .
,
,
, .
, , ,
.
,
. : , .

: , ,
.
,
,
,

.28
28 The only hierarchy in Wordsworths work is between those who can feel and those who cannot: to
be incapable of a feeling of Poetry, Wordsworth wrote, is to be without love of human nature and reverence for God. This introduction to Wordsworth serves to acquaint readers with the emotional spirit
of his writing, and also works to blur preconceptions of him as a nature poet, radical poet, Christian
poet or conservative poet in order to draw out the unsettling and yet animating experience the reader
undergoes by engaging with his poetry. (ej 2010: X).
55
Jeea Oae
1988: W. Wordsworth, The Complete Poetical Works, London: Macmillan

and Co.
1999: Wordsworth William, The Complete Poetical Works, http://www.
bartleby.com/145/, 25. VI 2012.
, 1973: The Oxford Anthology of English Literature, Volume II, edited by
Harold Bloom and Lionel Trilling, Oxford: Oxford University Press.
2007: Blooms Modern Critical views: William Wordsworth Updated edition,

edt. by Harold Bloom, New York: Infobase Publishing.
1992: D. Grunnes, Wordsworths Wandering in Resolution and Independence,
College Language Association Journal, Vol. XXXV, No. 3 (March 1992), 339-352.
1994: D. Daiches, A Critical Study of English Literature, Volume II: The
Restoration to the Present Day, (Revised edition), Mandarin paperbacks, London.
5 1996: A. S. Landy, The Heath Introduction to Literature, Lexington,
Massachusets: D. C. Heath and Company.
M 2010: E. Mason, The Cambridge Introduction to William Wordsworth,
Cambridge: Cambridge University Press.
2001: P. Rogers, The Oxford Illustrated History of English Literature, Oxford:
Oxford University Press.
Jelena Otaevi / The Role of Nature in Becoming Adult in William Wordsworth Poetry
Summary / Main topic of William Wordsworths poetry, i. e. of the poet of the older
generation of English romantics is nature, being often the setting for exploration of
the development and growth of human inner being from the childhood era to the
world of grown ups. Inclined to compare the Nature with human world, the poet
often finds it also to be an expression of moral cleanness that is to be followed and
respected by human society which is awry and dispatched from the right tracks. All his
poetry intermitted with emotions and recollections from some personal experiences
delivers, even today, a universal message, not at all time-bound, still up-to-date, proving his poetry to be of a single quality, authentic and of an extraordinary simplicity,
therefore adequate for the era of practical approach and the one inclined to simplify
whatever and wherever possible. Such inclinations were traced only after elaborate
examination of his verses in a manner that focuses primarily on poetry itself, liberated
of intertextual, biographical and social components of the time that it was created in.
Key words: William Wordsworth, the English Romaniticism, Lyrical ballads, poetry
: 20. 2012.
2012.
56
/ , ,
57

070.48-055.2(497.11):141.72
1,
,

XIX XX .
, , 1847.
, 1936. .
, ,
,

, XIX ,
.
: , , ,
,

. , 2, XIX .
,
. ,
, ,
.
, , . , , , .
.
1 tatjana.vulic@filfak.ni.ac.rs
2 XIX
.
, XX
, .
, , ,
.
59
, .

(, 2008: 248). , ,
.

XIX . , ,
. , , .
, .
. .
.
.

.

.

.
.
, ,
. ,
. XVIII
.
3. ,
XIX .
XX
.
.
, ,
, 1920.

. , ,
, .

. ,
3
a 1792. , ,
.
60
/ , ,
.
, , . ( 2009:
128)
XX . , ,
, .
, .
. ,
.
, ,
, ,
,
-
, . , , , ,
. ,
,
, . ,
.
.
( 2009: 133)
XX . . ,
,
. , , , , , . , ,
, : , , ,
.

XIX
, .
,
, ,
61
. ( 1934: 204)

.
1871. ,
, , .

, , ,

.
, , ,
. ,
,
. ( 1934: 206)

,
1870.
. ,
,
.
.
. ,
, ,
, .
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, XIX
.
. ,
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4 (1840-1871) , , .
.
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62
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. ,

. ,
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, ,
- . ( 1934: 209)
. XIX , .
6, 1875. .
.
XX
. .
. 7,
1903. . , , , , , ,
, .

1906. , , 1919. , 1920. 1926.
.
. 1874.
, 1891. .
6 , ,
. 1879. ,
, . 1882.

. ,
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. XX
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1927. .

. 1927. , , . , . 1928. ,
.
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( 2009: 6)
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,
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8 : , , , ,
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. XVIII
.
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q , ,
. , . , , , ,
, , ( 1987: 13).
, ,
, .
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.
, ,
. - .
: ,
. , , .
.
: ( , ), , , , .
( 1987: 19)
, , , .
XVIII , . XIX .
, ,

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,
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1897. . , , , , . ,
. XIX , , ,
,
. ( 1987: 21) ,
, , XX .
, . , ,
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, . ( 2004: 125)

XIX
. 1847. . ,
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.
, .
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( 1987: 52).
,
.

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.
, , 1882. 1885. . ,
, ,
.

, 1889.

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. ( 1987: 54)
67

, ,
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, ,
.
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. ( 2004: 130)
, ,
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,
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. ( 2004: 132)

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, ,
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68
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. ,
.
, , 1939. ,
.
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. :

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. ( 1980: 31)
, , .
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,
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, . XXI
, .
. .
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70
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, .
. . <http://www.womenngo.org.rs/
content/blogcategory/28/61/>. 19. 09 2011.
2009: . , , : .
. (.), , :
.
1980: . , 1918-1929,
: .
2009: . , , : .
1934: . , , :
.
2004: . , ,
: - , .
2008: . . ,
, : . (.),
, : Heinrich Bll Stiftung.
, . XX . Universit degli
Studi di Trieste Scuola Superiore di Lingue Moderne per Interpreti e Traduttori,
May 2004. <http://www.openstarts.units.it/dspace/bitstream/10077/2423/1/05.
pdf>.18.09.2011.
1987: . , ,
: .
Tatjana Vuli, Marija Vujovi / Womens Press in the Service of the Development
of Serbian Feminism
Summary /This paper considers the role of womens press in the development of
the feminist movement in Serbia during late nineteenth and early twentieth century.
The method used in this paper is analysis of the content of womens magazines that
were published during considered time period in Serbia, from Zenski Vospitatelj
whose first issue was printed 1847th to Zene danas published since 1936th year.
Although completely conceptually different, the first being dedicated to educate
women in performing the role of a mother, a spouse and a housewife, while other
emphasizes struggle for the emancipation and empowerment of women in patriarchal
Serbia, the authors came to the conclusion that the overall womens press played an
important role in the development of feminism in Serbia, a movement that came to
this region during seventies of the nineteenth century, three decades later than in
Western European countries.
Key words: womens press, feminism
: 5. 2012.
2012.
71

821.111(73)-2.09 .
Tijana Matovi1
Filoloko-umetniki fakultet, Kragujevac
Negating the Human: Political Correctness

in David Mamets Play Oleanna
This paper explores the dehumanizing consequences that the ultimately restrictive, politically
correct mechanism of social interaction can yield, as exemplified in David Mamets play Oleanna
(1992). In the course of a detailed analysis of themes, motifs, and overall cultural background of
Oleanna, the aim was to contradict the misdirected criticism which focused on sexual harassment
as the core issue of the play and to demonstrate how intricate, mostly subconscious social norms
imposed by the establishment of political correctness are, in fact, those corrupting sources which
prevent the two protagonists, John and Carol, from achieving meaningful communication. The
sole concept of political correctness and its underlying mythically utopian propositions prove
to be the main alienating forces further expanding the gap between individuals, who are too
vulnerable to expose themselves to a chaotic world in order to rebuild the one which has failed
them. Finally, it is by making necessary connections between the social, political, and personal
aspects of Oleanna that this paper ventures to propose what Mamet has refrained from doing a
solution to what has been perceived as devastating repercussions that the passive acceptance
of superficial reality eventually leads to, in the form of critical revaluation of that same reality
in order for it to become real once again.
Key words: David Mamet, Oleanna, political correctness, gender, sexual harassment, alienation
When writers decide to tackle a heated contemporary issue, they often provide commentary on the world at large while uncovering hidden
aspects of the reality they explore. Upon being placed before an audience
in the form of a play, those aspects serve as both a revelation and a warning. In his plays and essays, the American dramatist David Mamet has,
throughout his career, been exploring the consequences of lives entrapped
in a mythology which consumes their sense of reality by foregrounding fiction as the desired condition. Such a fictionalized reality in which relationships are disconnected and strained, communication fractioned, and lives
brought to the verge of pointlessness, is precisely the topic of Mamets
play Oleanna (1992), which takes up the phenomenon of political correctness and develops it as a destructive force underlying the conflict between
its two protagonists: John, a male university professor in his forties, and
Carol, his female student in her twenties. Given that these two characters
are initially described only with respect to their sex and age, and throughout the play never given more than simple generalized backgrounds, an
1 tijana_matovic@yahoo.com
73
Tijana Matovi
immediate assumption often made is that Oleanna essentially deals with

a particular gender issue. This interpretation, however, proves to be only
partially true. While the controversial topic of sexual harassment is definitely one overtly tackled, the following analysis does not establish it as the
major focus despite its frequent treatment as such by literary critics (e.g.
Showalter 1992; McDonough 1997; Heller 2000). This paper proposes that
Oleanna demonstrates how societal norms of political correctness can have
alarming implications for peoples expected and actual linguistic behavior, ultimately restricting free speech and alienating individuals in their
attempt (or reluctance) to achieve meaningful communication, while the
field of gender is only one area in which this phenomenon has found its
realization.
Political correctness (PC) became part of the modern lexicon and,
many would say, part of the modern mind-set, as a consequence of the
wide-ranging public debate which started on campuses in the United
States from the late 1980s (Hughes 2009: 3). On the one hand, as Hollway and Jefferson (1996: 374-76) point out, political correctness stemmed
from a desire to propagate a more tolerant and less discriminatory attitude
toward those groups of people who were underrepresented in the dominant, male, Anglo-American circles of society. On the other hand, however,
these instances of remodeling and potential restriction of speech have had
several socially rather significant byproducts. First of all, the sole concept
of correctness or appropriateness is difficult to define, and although the
primary idealistic assumption was that of equality, the didactic nature of
the PC doctrine makes it questionable whose point of view it actually represents. Moreover, the PC movement initiated a contra reaction termed
positive discrimination or liberal orthodoxy (Hughes 2009: 4), whose
proponents state that whatever the rationale behind the introduction of
political correctness may have been, it has yielded only superficial results,
while the core issues remain unresolved. What is more, the actual social
problems masked by a mellowed-down version of linguistic expression
have, in fact, become exacerbated through the creation of a false frame
of values and beliefs which uphold only superficial tolerance and do not
delineate in any way the needed course of action toward necessary change.
This aspect of the imposed world of the PC doctrine is exemplified in the
educational and gendered setting of Oleanna through the destructive behavior Carol exhibits and the gradual demise John suffers in consequence.
Turning to the play in question, Oleanna consists of three acts, all of
which are set in Johns office at the university during his three consecutive
office hours with his student Carol. The first time Carol appears in Johns
office, she is overwhelmed by the subject matter of his class and afraid that
she will fail the course, and so pleads for John to teach (Mamet 1992: 11)
her how to resolve the paradox of being a hard-working college student
and, at the same time, defending his proposition that it is a prejudice
that we should go to school (Mamet 1992: 30). However, their attempts at
74
/ , ,
Negating the Human: Political Correctness in David Mamets Play Oleanna
communication fail throughout the play, and although the role of the initiator of those attempts shifts from Carol to John, neither of them succeeds
in breaching the boundaries which divide their two worlds Carols being
one of strictly delineated theoretical rules and restrictions, and Johns having a more pragmatic basis, in which, perhaps contradictory, he preaches
idealistic propositions. The relationship John and Carol engage in throughout Act I is obviously one of alienation, but also one of power negotiation.
Their fragmented, chopped-up sentences directly indicate the fragmentation present in their own little universes. As Douglas Bigsby stresses,
in Mamets plays the sense of discontinuity, disjunction, a disruption of
coherence at almost all levels is fundamental (1985: 109). Thus, Carols
inability to abandon her studious, paranoid note-taking in a compulsive
need for every word to be written down and remembered, in addition to
Johns failure to reconcile his nihilistic, condescending preaching with the
realism of his professional and family life, make both of them grotesque
contemporary examples of alienated individuals. Furthermore, there is an
obvious power incongruence present throughout Act I which allows John
to become sympathetic of Carol when she screams out I DONT UNDERSTAND by issuing a paternalistic sshhhh (Mamet 1992: 36), while all of
his efforts to explain to her what life has not taught her that the world is
a rather chaotic place in which things inevitably get lost and that one needs
to compromise in order to live among contradictions are performed halfheartedly and, at times, patronizingly because of his preoccupation with
his personal life buying a house and getting tenure. While Johns intention to get Carol to think critically, to look at what [she is], and what [she
feels], and how [she acts] (Mamet 1992: 22), instead of being trapped in
close-minded notions of you dont do that (Mamet 1992: 4) and Im doing what Im told (Mamet 1992: 6), is commendable, his sense of superiority dictates a different type of discourse than the one Carol employs, and it
prevents him from establishing meaningful contact with her.
The so-far delineated story of Oleanna definitely raises complex
questions concerning peoples ability to truly communicate in intricate
academic, but also basic human, interactions in the contemporary world
given that every relationship is based on some kind of social hierarchy. Mamet did not randomly choose a university setting for Oleanna because it is
in such a setting that the politically correct word is upheld highly. Hughes
cleverly perceived that paradoxically, political correctness manifested itself rapidly and most strongly, not in political parties, but on university
campuses; not in the closed societies of Eastern Europe, but free Western
societies, especially in America, the only country in the world where freedom of speech is a constitutional right (2009: 7). It is at American universities, where creative thought is supposed to be encouraged, that todays
generations are being forced to express themselves in a predetermined
mold, but to, at the same time, generate novelty. That is precisely what lies
at the core of Carols inner conflicts in Act I. She is torn between remaining
75
Tijana Matovi
the obedient student she was conditioned to become and transforming into
the critical thinker her professor wants her to be.
However, it is only in Act II that Mamet introduces the practical embodiment of the concept of political correctness, which finds its expression
in Carols reinterpretation and decontextualization of the previous office
hour with John, most notably the incident when he put his hand on her
shoulder. She accuses him of sexual harassment, suddenly empowered by
the alleged group (Mamet 1992: 51). Throughout this act, we are faced
with the perverse side of the politically correct code of behavior when it is
used to distort the reality it is presumably meant to improve. It becomes
essentially irrelevant whether Carol truly believes she was harassed, or if
she is out to destroy the man who dared to tamper with her perspective
of the world. To her, Johns intentions are not important; it is his behavior
which is scrutinized and interpreted under the laws of a politically correct
code. When she says: Do you deny it?... Dont you see? You dont see, do
you? (Mamet 1992: 48), she obviously acknowledges that John may not
have been aware of the implications of his too intimate conduct. C. W. E.
Bigsby notes that the power that both [John and Carol] seek and deploy
is no more than a sublimated desire to feel that they command their lives
(2000: 234). This is the only rationale we can attach to Carols behavioral
switch between the first two acts without becoming too subjective. She felt
threatened by Johns imposition, but whether such an imposition is of a
sexual or intellectual nature becomes inconsequent. Carols motives fade
away into the background when the means (i.e. political correctness) she
employs are used only for her to resolve her own insecurities and remain in
her safe, but empty, shell. Oleanna proves to revolve essentially around the
PC code (now already an entity of its own), whose regulations are misused
and abused by the very people it was supposed to defend. The reason for
this abnormality lies in the fact that politically correct behavior and speech
are beneficial only as a final polishing of changed social circumstances. In
Oleanna, no such change is present. Its protagonists are alienated form
each other, and while attempts at communication definitely exist, they depend greatly on the shifting power relationships between Carol and John.
Because of the fact that those attempts are not directed at meaningful communication, but satisfaction of personal, selfish needs, they fail miserably.
Whether the establishment of a PC culture has caused this alienation is
disputable, but the image Oleanna depicts is one of a world divided into
groups instead of one in which people would be brought closer together.
When Carol addresses John with: Are you part of that group? Yes. Yes. You
Are. Youve done these things (Mamet 1992: 50), she condones and even
celebrates through her newly acquired dominant discourse the power she
had attained. But what she fails to realize is that such power comes from
the exploitation of the protective shield and attacking blade of political
correctness, which had allowed her to segregate people into simple catego76
/ , ,
ries. She is being the discriminator now; she is destroying somebodys life,
and she is not even capable of realizing it.
It is at this point that critics tend to heap accusations of misogyny on
Mamet claiming that his depiction of Carol is one-sided and derogatory. In
her review of the plays performance, Showalter asserted that in making
his female protagonist a dishonest, androgynous zealot, and his male protagonist a devoted husband and father who defends freedom of thought,
Mamet does not exactly wrestle with the moral complexities of sexual harassment (1992: 17). However, Oleanna, whatever the authors initial thematic incentive, is not essentially a play about sexual harassment. It definitely employs it as a subject, but not to deal with it as a central thematic
core or as a complex gender issue. The play represents sexual harassment
only as one of the weapons which the social establishment of political correctness allows as a possible choice for (predominantly) women, not just
to defend themselves, but to attack as well. Badenhausen noted that many
critics have misunderstood this as a play about gender conflict instead of
about the inability of a teacher and student to communicate successfully
within the educational and cultural model they find themselves occupying
(1998: 4). If Mamet had chosen a different setting, portraying two men as
the sole protagonists, his goal of demonstrating how far the extremist politically correct framework may extend would be diminished in intensity.
My claim here is not that Mamets choice rests on some prejudicial claim
that women are a more malicious sex, readier to abuse the loopholes of
PC propositions, but that the Western culture still perceives mixed-gender
relationships as more invested with power negotiation than same-gender
ones. And the cultural aspect is precisely what is aimed throughout this
play of language, of communication, of human relationships, and not of
a particular sexual harassment issue.
It is important to mention at this point that Oleanna is a play conceived around the words exchanged between the protagonists, and not
dramatic action per se. Not only the setting, but also the characters, their
backgrounds, and their circumstances of life are all just sketched out,
without any supplementary detail being added. In such a way, Mamet has
generalized the situation portrayed and given the readership and the audience an opportunity to explore their own perspectives by identifying
more easily with the protagonists. David Sauer saw Oleanna as a product
of postmodern realism (2000: 421), which can incorporate the authors
employment of controversial subjects over issues for which even he/she
has no obvious solution. The objective reality of the characters in Oleanna
cannot be seen except through one framework or another so it is ones
own frameworks that one confronts when watching the play (2000: 427),
states Sauer underpinning the social significance of the performance of
such a play as Oleanna. Since it is left to us to fill in the gaps Mamet left in
his play, only our own schemata of ideas, principles, and beliefs can assist
77
Tijana Matovi
us in reconstructing what goes on behind the scenes, and in such a way in

learning about our own prejudice and misconceptions.
Ultimately, given the way Mamet organizes the discourse between
Carol and John, a definite conclusion about who may be the one telling the
truth, is not possible. But, as mentioned above, the provocation of Oleanna
lies exactly in that it forces its audience to choose sides. And we almost unequivocally stand against Carol. However, this reaction is not, what Showalter claimed to be a consequence of misogynist content, but an obvious
repulsion at what Carol represents a manipulator employing dehumanizing means of action and succeeding in it. Therefore, it is not the case
that Mamets representation of Carol as, perhaps less human than John, is
a lacking portrayal. It is, in fact, a loyal one, depicting the representative
conduct which todays push toward uniformity of behavior and correct
speech is generating. While the concern about the content of this play being taken too literally and, in effect, derogating women and ridiculing the
complexities of such issues as sexual harassment, is somewhat reasonable,
the tenets on which critics like Showalter base their harsh criticism are as
close-minded as their subject of scorn is said to be. By excluding the threatening social framework of political correctness which Mamet is trying to
make us aware of, they are neglecting to pay attention to one of the causes
of these perpetuated gender stereotypes. The fact that they have rushed
to label Oleanna as a misogynist play and Mamet as a chauvinistic writer,
simply proves that it is difficult to distance oneself from popular beliefs,
and so easy to succumb to reiterating the same stereotypes without looking
for the underlying cause, which has undoubtedly shifted in recent decades.
What these critics propose is, in fact, forced gender tolerance, which does
nothing more than to bury the real problems of female subordination by
making women superficially empowered, but actually stripping them of
any real chance of resolving gender inequality through social conflict and
change. On the other hand, Mamet is not presenting a completely impossible scenario. When Carol warns John by saying you speak of the tenure committee, one of whose members is a woman, as you know (Mamet
1992: 51), she is only pointing out the obvious women do indeed form a
group. But what fails to make her a feminist advocate is her use of what is
given to women as a tool of defense only in order to attack on the basis of
a completely non-gender-related issue. She is negating feminist struggles
for equality with her very actions.
As Oleanna progresses into Act III, John falls apart completely as
Carol adds rape to her stream of accusations. And it is important to note
here that John does not represent such an idealized human model as critics
often suggest when they compare him to Carol. His claim that he believes
in freedom of thought is rightfully challenged by Carols reply that he
believe[s] in what [he calls] freedom of thought (Mamet 1992: 67). His
pride in being successful in both his personal and professional life, while
disregarding the hypocrisy of upholding different values in each of them,
78
/ , ,
is what becomes the crucial cause of his downfall. Moreover, we get to

witness here the final result of the politically correct persecution Carol
had undertaken, and that is complete censure of free speech. She concedes
to remove the charges made against John, once again proving that harassment is not the key issue, under the condition that certain books be
removed from the curriculum, among them Johns book as well. At this
point, the true meaning of the plays title comes to light. The title Oleanna
Mamet borrowed from a 19th century Norwegian folk song about a utopian
community called Oleanna, in which natural wealth is plentiful and people
are free from hard labor. In reality, such a community failed to materialize on account of unfertile soil in Wisconsin, where the group of Norwegians had emigrated (Murphy 2004: 124). The title itself is rather symbolical when this failed utopian ideal is taken to correspond to the ideal of a
linguistically just society unlikely attained through the mode of political
correctness. It is not my desire in this instance to claim that one ought
not to aspire to constant betterment of society, but rather to indicate how
fragile, long-term idealistic goals are easily warped when simplified oneto-one mappings are proposed as the sole solution. Defining the concept
of utopia in her article for The Cambridge Companion to Utopian Literature,
Vieira outlines how the term coined by Thomas Moore in 1516 has undoubtedly evolved in meaning, influenced by its embodiment in real-life,
political circumstances. Originally, utopia exemplified the internal, etymological contradiction of being a place which is a non-place, while the
perennial duality of meaning of utopia as the place that is simultaneously a non-place (utopia) and a good place (eutopia) (2010: 4-5) was more
generally accepted as the human capacity for striving toward betterment.
However, as Vieira stresses, [t]he two World Wars, Hitlers utopian aspiration to purify the human race and the collapse of the communist regimes
all over the world, as political versions of the idea of utopia, led people to
retreat from dreaming and forced them to adopt a very realistic perspective (2010: 22) a warning which emerges in Oleanna as well. What is interesting is that the concept of political correctness actually originated in
Communist terminology as a policy concept denoting the orthodox party
line of Chinese Communism as enunciated by Mao Tse-Tung in the 1930s
(Hughes 2009: 17), which makes the connection between the PC doctrine
and other political establishments based on idealistic principles which do
not function in reality. With such a comparison in mind, what has started
in the American society as an extension of free speech almost inevitably
ended in its abridgement and, finally, its complete restriction. The ultimate
consequence of suppressed urges and unresolved issues in Oleanna, which
had been concealed underneath the PC faade, show their true face in Act
III. Carol becomes enthralled by her newly-discovered power and clearly
notifies John that ITS NOT FOR [HIM] TO SAY (Mamet 1992: 70), while
79
Tijana Matovi
he eventually explodes. John attacks Carol both verbally, with such words
as vicious little bitch and little cunt (Mamet 1992: 79), and physically,
by slapping and hitting her. The outburst of Johns ultimately politically
incorrect language puts an end to the negotiation between these two protagonists and brings out the violent, animalistic behavior which, having
been completely suppressed, now assumes total domination. And all thats
left is Carols numb yes, thats right (Mamet 1992: 80).
Oleanna demonstrates that language is an important embodiment of
our culture, social and individual, and that when we allow ourselves to
uncritically succumb to the dictates of how to speak and behave properly
to fit our status, gender, class etc., we lose what essentially makes us human. Both Carol and John are fighting for power in their own worlds which
intersect only in the realm of laws and preset norms the field from which
Carol eventually comes out victorious, and thus emerges as an ominous
warning to the entire politically correct American society. Her victory is
not some devised scheme of a realistically nonexistent group. The Group
is very much real, and very much among us. It is embodied in every rule
of speech taken for granted, in every chiding meant to make us more nonracist, non-discriminatory, and by extension more non-human, when the
reasons for criticism become a blind need for reproach instead of the actual concern for societys well-being. Ultimately, if we ourselves do not
realize where the problems of inequality and intolerance in todays society
lie, and mask our ignorance with empty words, Oleanna happens. A utopia
based on flawed premises develops into a horror scenario, and lives are
destroyed. In fear of becoming vulnerable, which turns out to be the worst
fear of all, both John and Carol fail at meaningful communication that
would have had the power to save them. But finally, it is the confrontation
with these fears and taking grips with words as they stand in order to make
them our own meaningful and true that ought to be the main path toward overcoming obstacles of alienation and loss. That is, in my interpretation, the message Mamet is indirectly sending, and despite all the chaos of
modern society, it is one worth clinging to.
References
Badenhauzen 1998: R. Badenhausen, The Modern Academy Raging in the Dark:
Misreading Mamets Political Incorrectness in Oleanna, West Chester, PA: College
literature, 25 (3), West Chester, 1-19.
Bigzbi 2000: C. W. E. Bigsby, Modern American Drama, 1945-2000, Cambridge, UK;
New York: Cambridge University Press.
Bigzbi 1985: D. Bigsby, David Mamet, London; New York: Methuen.
Heler 2000: J. R. Heller, David Mamets Trivialization of Feminism and Sexual
Harassment in Oleanna, Chattanooga, TN: Midamerica: The Yearbook of the Society
for the Study of Midwestern Literature, Chattanooga, TN, 93-105.
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Holvej, Deferson 1996: W. Hollway, T. Jefferson, PC or Not PC: Sexual Harassment

and the Question of Ambivalence, New York: Human relations, New York, 49 (3),
373-393.
Hjuz 2009: G. Hughes, Political Correctness: A History of Semantics and Culture,
Chichester: John Wiley & Sons, Ltd.
Marfi 2004: B. Murphy, Oleanna: language and power, in: C. W. E. Bigsby (ed.), The
Cambridge Companion to David Mamet, Cambridge: Cambridge University Press,
124-137.
Mekdona 1997: C. J. McDonough, David Mamet: The Search for Masculine Space,
in: Staging masculinity: male identity in contemporary American drama, Jefferson,
N.C.: McFarland & Company, Inc., 94-98.
Memet 1992: D. Mamet, Oleanna, New York: Pantheon.
Sauer 2000: D. K. Sauer, Oleanna and The Childrens Hour: Misreading Sexuality on
the Post/Modern Realistic Stage, Toronto: Modern drama, 43 (3), Toronto, 421-441.
ovalter 1992: E. Showalter, Acts of Violence: David Mamet and the Language of
Men, London: Times Literary Supplement, London, 16-17.
Vijeira 2010: F. Vieira. The concept of utopia, in: G. Claeys (ed.), The Cambridge
Companion to Utopian Literature, Cambridge: Cambridge University Press, 3-27.
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ea, ,
e a eae (The Piazza Tales The Piazza Tales, 2010: 149). Me je aao aaj e oa, a je eajo, oe je eooo ao e
oje o ea (: 1962: 116).
, ,
o o oa a; a a o eaaj ooo oa aeo aao : a oja eaa o, o ea oja eaa oo,
aoa a a eaa a ea ae ( 1962: 121). , aa eeo
ojaje a o aa e a ea, o aao aje a o a
e oe oje eaoo eaaj.
83
aa . aoje
a, ao a ooa a
oo aao jee oaja a oe oe, a Me e
o o oaj e ( 1977: 108). ,
,
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o a je oa a oo
ao eao ea a o eoea.
Me, oeo eee, a aoo , oo aea ee oe oa a e
ee eeo je o eae.
Me je a aea
a ea e a oa ao o. aao,
Me oe oaja oooea. a a a
oae aoeaje oaje
ooa
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aea eao je a Aeaa a o
eaa o aae aje a o
a o. eao e ao oo oo ea oa ao oa, oaaj oj oo ao
( 1977: 106-111).
ao o e eoaee ooe ae, aea
eao e oe a eoa a eeo ao Eoa e
Aaa ea oo a oe oo ( 1965:
105). eaoa oea aaa oo eeo
84
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O o oa a: o eo eto eeo
oaaaj a a oae aeaa ao a a a

o. eao eoaa a ee o e
a ajaaj oa Eoaa, a eeo a o je a aoo
oaee a aa oo a a o e oe a oae
e eoo ao aaaa oo. aa eaoe
eae o o oea ajee, o eoo
e a o ao oeeo a.
Me, o o eeoo a eao, eo eeo oeeo oeje / je oaae Aee ao ee e, a ao e o eoj o. a
ea e ee oe e aa eao
eo aea ee oe: eo eeo aoaa oa ( oo aj aa / ) a eaa a
e, aea eao, o o oaa Aeaa, jao
oaa o e, o ao, oa oe ooa, eaa
Te e.
eaja e Aeaa eaa a a a oa
oo o eoa; ao e eaje oa e o aa
a Me je Ae, e ea o eo ojeoaeo
oea a e oea a e oj ,
o . Meo e o oaje a e
Aea aa a oao , e ao aa a eao e aa a a oo, e oaje aoe a
eaj aoe, o Aee, ee
ao ( 1965: 114-115).
Jea ae aeo ojeoaeo oea a e,
oaje e ao a aa. eao aa oaj
a eoo ooo, eaa a a a a aj a
o a o, ao a oeeo aaa je a je oo ee
ae oaje e aje, ao a o ( 2010:
147-148).
aea eao e oaje ao ae eoa aa.
O e e, ae, o o. A,
o a oaaj, a, e aoa.
O, ae, aa aa ea oo, oaee eeje.
Me e a je eao aoe a, a e oeoo,
e , ea aea.
aa, eao eo oe Aae a a o a
oaa. aa oe a oa o, aj Aa a oo oja e o o ae oo a a je eeea o
ee eoaa, a ea o oe ( 1962: 123), a a eea
ae a je ooa a oaa.
, eao e aa aa aa, oo ee ea eoo oeeo eee
a oo . e oaja a e a
85
aa . aoje
eaaa a a o, ea e a ao o a eeo
oe ae a a, e oaje ao a eo
je o je aa o a ea oj je aa aj a e
oeao oje e, o ae a a. Te e
oaa aa eaoo ao eea.
O oa, Me je eao aa a jo j a: ae, o eao ao-oj , Me
ooaa aoa a ao o o ea oje oaj oe
a, oeo a je e o a. ao Me ea eje eoo ee eaa o a. eao, ae,
aa aa ajej oo oj ooj, a e a a a
o o oa, e aaj a ao oj a oaoaa oe. o oo aeaa e, aa oe oeo a Meo oj aa a o e eao a oe a
Aae.
ao oaje oo a oaa Aae ao
ae e ao oe a oo (eeo a oee
e e aje ae ao e Aaaa, a e ao aee aoj o a, a e aa e oea a aa
oae Aae, oea o aoa oje e e
oe) eo eeo eo e o eao / ae aa: aoa ea aa a o oja je o aee oe ao aaaa eo eej, a je o ao
eoaa aa ( 2010: 148). Me je aeo
aoo aae a ae ooo oa. a aa ao a
, Ae je a oea oa eja. , eaa ooja o eo o, oj eao eje, je a oa o ee
ae e.
: ,

o aa, Me e e ee aa
oa a o. eo eeo e ao o oa aoe oa, e oa eee ea.
eeoa a a oo ooa eoa oeo a
jaj eo , a aja eoo eo ( 1965: 115). e
oa ea ao, ao ae. oo je a je Me
aao a oje oja o o o o ajej e ee. eao jaje: A oo oo aa e eoje
oe! ( 1865: 143) ao oa o aa
jo e ( ooa), oja a aj
aje ao oa a oa o ae eao
.
86
/ , ,
o, je ooo ao a a oo oo o oao
oaaa. oaaj oe o eao , Me aaaa a
je ooo ao a je oo oeo, oa e eoa oea, a o je aa. a aj ajea a eao je aa. eoa a o eeoo o oe oa ea
a, oja aoeaa eoo oae oa, oe o eoo
eea a je ao eaa a oj je oa, a ea. aa e eo oo aj e eoje a, ao o a
eao oaje a aj aa a ejao eje ooo
ooaa a a o.
aja, ae e a oa aa oa, oaa e
oo a aa oa a o. ao oe a aj
eoaaa eaa e ae oja oa aa
ae a a oje aee ( 1977: 96). a a, ao o
oa eeej (106-107), a aa aoj
a, o eaj oaea a e a, ao o oo ao
oa ao o ae a.
e ee, oaj o a o aa je o
eea aa. eeo a ao a, a e a, a ao a
a, a e a. eao aa aa oeo oj je
aao oo aoa e aa a eaa o aje a a oje oe. a a, ao jea a je eaoao o ee ejeao oe e aa e, oae oo oj
je ooao ooaa aa o o eaa. a eo o, jaea ea eea e aeaa, Aeaa
Aae oaa je o oa oa a o ooo.
o a oj oo e o je Aeaa Aaa o
( 2010: 108).
o oe ao o ao eo eeo, Me oaje
oeo aa oa je e a
oo a, . e o je oo eoaao ae ooeo Ae, eoao je Me,
eaaja eao je a. O je oao eea Aee eoje oo, jeao ao je je e eo
aoa oe ooe jeae ee o e ( 1938:
cvi-cvii). ej Me (1965: 110) eje eeje Aee e ee, ao eao a e aoea a a ooea
a ao, o a e a oe ooaa ae
ae. Me, aeo e o eea, e ee oaje
ao oeaj ae eoo oe o ao oa.
a ee aa, oaa oa o a oo
e aoeje oe oa. Moo a o o ( 1865:
116) ojaje e ao , ao a o eea Aeaa
Aae, oaa e oaaaj e eo oo. Moo oe oe
e oo a Aeaa Aa eo, ao e e o
a ae ao o Aeaa Aaa. ao e oe ooLipar / Journal for Literature, Language, Art and Culture
87
aa . aoje
a eea, j ooa e o e eo e a oe
o aa oj ee a aaj oj a ( 1962: 122).
aje, a o o je oa ojo eao oee
Aeae eae a oa. a aj, eeo a
o o aa, .
o, oaje e a je ao ooj oe o eea. o
e eo e, eao je a a a aa, Aaa o
o a ao o. eoo je ee a oja oe oeeaa ao
eee. e aaj a je ao oa, eao je aao e
ae a je eeo a oa aaa oj e ao aje
a oeao aaa. eao aa a je eo a o a e
o. oo je, o ao oea ao o oea a e e
o a ao o ( 1977: 113).
Je, ea e a e ee ao oaa, e eo
o o , aee o oe. O je aa, oa,
eo oo oe o, oeje eae oae ooo. a, ea aa je ao oe je ea aa eoe
ooo eaj. eo je oe a a oaa oa
oee . Me oe oaa oo ao aaoao
oo je eooo aa je aeo, oo je aa e e
aee. O ao a oe o oa o o oj oe
aea a. O oa, ea, o oj aj a
a e o aa, a e ao eeo oj o oo.
o e ee je o oaa,
a e : e, aeo ( 1965: 121). To e oe e aa Aaoo
eea, ao aa aoe ae a o. Moa e, e, a
a e e oaj, ao o o e , ee a e oooe.
ao oaje / a oaa Aae ao ae e ao oe a oo, eo
eeo eo e o, , eao aa, ,
- , .
, , , , - . ,
, , , . , , ,
88
/ , ,

.
, , ; ,
.
1965: N. Canaday, Captain Delano and the Problem of Authority, in A Benito

Cereno Handbook: Wadsworth Publishing Company.
1865: H. Melville, The Piazza Tales, Broadway: Dix & Edwards.
1965: J. E. Miller, Amasa Delano, Realist, in A Benito Cereno Handbook:
Wadsworth Publishing Company.
1938: W. Thorp, Herman Melville: American book company.
1965: B. Phillips, The Good Captain: Amasa Delano, American Idealist, in A
Benito Cereno Handbook: Wadsworth Publishing Company.
1977: M. Fisher, Going Under: Melvilles Short Fiction and the American 1850s:
Louisiana State Univ Press.
2010: R. D. Habich & Robert C. Nowatzki, Romanticism and
Transcendentalism, 1820-1865 (Research Guide to American Literature): Facts on File.
1962: R. Chase, A Collection of Critical Essays: Melville: Prentice-hall.
Biljana Stanojevi / On the Battle of Good and Evil: Black and White in Melvilles
Benito Cereno
Summary / According to the traditional readings, Melvilles story Benito Cereno
presents us with the battle of good and evil, where the Africans represent the darkness, i.e. moral corruption in an abstract sense: the colour black represents evil, while
the color white represents good, which is, allegedly, one of the reasons why readers,
again, supposedly, tend to side with the whites, and to accept their view of what is, in
this case, just or justifiable. Closely reading some of the aspects of Melvilles story, the
paper argues that the story, at least partly, represents a critique of racism and slavery,
as well as of the American simplified way of understanding the world, which leads
to delusion and the legitimizing of the inhumane. It is further pointed out that the
story subtly busts the myth of the happy slave, and exposes the cultural stereotype
as the equivalent of racism. Racism is shown to be the foundation of slavery, which
is subtly criticized by an inversion of the roles of the master and the slave. Finally,
it is shown how the prominence of themes such as the conflict / paradox of power,
authority and leadership, point to and highlight the significance of Melvilles criticism of racism and slavery.
Keywords: Herman Melville, Benito Cereno, slavery, racism, power, authority, leadership
: 15. 2012.
2012.
89

821.163.41.09 .
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Ana Stankovic / On one Mythical Motive of Rastko Petrovic
Summary / The paper investigates position of myth in Rastko Petrovics
avangardic work and the presence of its permeation. Similarities are obvious,
but there is also the presence of difference and reshaping of mythical motives
in Burleska. The main analysed motive is the one of horse and horseridder
taken from Indoeuropean culture and modified through Slav tradition, more
precisely through Serbian culture. This motive divides into two possible options chthonic and solar principle, depending on the presence of colour. This
change of colour and principle occurs within one religion but in accordance
to transition from paganism to Christianity, as well.
Key words: myth, chthonic and solar principle, horse, horseridder, paganism, Christianity.
: 25. 2012.
2012.
98
/ , ,

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, / Being, Man and Play in Vasko Popas Poetry

Summary / Fragmented, aphoristic and elliptic essays from the field of literary theory
by Branko Miljkovi provide insight into the poets motivation, explain the idiosyncrasies of his poetic expression, and clarify metaphysical basis of his opus. However,
mentioned essays are not only extremely important for interpreting his poems, but
they also bear exceptional significance when it comes to explicating poetry in general.
The relevance of Miljkovis literary and theoretical musings when interpreting Vasko
Popas poetry rests upon the evident similarity of their poetic expression the comLipar / Journal for Literature, Language, Art and Culture
107
. , .
mon denominators being not only their metaphorical postulates but also the elliptic
quality of the verse. Thus, by using Miljkovis understanding of poetic language and
the analysis of Popas poem cycle Play as the starting point, the paper attempts to
answer the following questions: where is the meaning of a literary work constituted,
what is the nature of the relationship between truth and literature, is Popas poetry
a criticism of lifes mechanisms and dogmatism in general, does his poetry merely
affirm the existing ontological dimension of human existence or does it promote its
newly discovered absurdity, and how clear is the demarcation line between modernist
and postmodernist understanding of humanity.
: 15. 2012.
2012.
108
/ , ,

821.134.2(82)-32.09 . .
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2012: R. Adorno, Cultures in contact: Mesoamerica, the Andes, and the
European written tradition, The Cambridge History of Latin American Literature, volume
I, Cambridge Histories Online Cambridge University Press, 2008, 12.01.2012.
2012: D. Balderston, The twentieth-century short story in Spanish
America, The Cambridge History of Latin American Literature volume 2, Cambridge
Histories Online Cambridge University Press, 2008, 12.01.2012.
2011: . Gonzlez, Literary criticism in Spanish America, The Cambridge
History of Latin American Literature volume 2, Cambridge Histories Online
Cambridge University Press, 2008, 12.01.2011.
2012: . Gonzlez, Modernist prose, The Cambridge History of Latin
American Literature volume 2, Cambridge Histories Online Cambridge University
Press, 2008, 12.01.2012.
2012: R. Gonzalez Echevarria, A brief history of the history of
Spanish American Literature, The Cambridge History of Latin American Literature,
volume I, Cambridge Histories Online Cambridge University Press, 2008,
12.01.2012.
2012: S. Molloy, The autobiographical narrative, The Cambridge History of
Latin American Literature volume 2, Cambridge Histories Online Cambridge
University Press, 2008, 12.01.2012.
2012: J. M. Oviedo, The modern essay in Spanish America, The Cambridge
History of Latin American Literature volume 2, Cambridge Histories Online
Cambridge University Press, 2008, 12.01.2012.
120
/ , ,
, , , ,
Jelena Stojanovi / Man, Fate, Time, Dream, Eternal Return as Themes of Borges
Short Stories
Summary / The collection of short stories The Book of Sand by Jorge Luis Borges is
a narrative which deals with the quest for identity and destiny. Borges man, which
can be understood as a synthesis of the tradition and modernity, emerges from this
tradition and on its basis it is largely constituted. Hence, the paper attempts to to
examine the ways in which Borges opus can be related to the Latin American radition,
as well as the ways in which Borges, seen through the prism of that tradition, reflects
on the issues of fate, life, death, and eternal renewal, and then connects these issues
with the concept of writing, and, ultimately, the literature. The paper also attempts
to determine the extent to which the identity of the man and his work is rooted in
the tradition and the ways in which the tradition is always renewed through man
and his work.
Key words: Borges, fate, time, dream, tradition, renewal
: 11. 2012.
2012.
121

111.852
821.163.41.09 .
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, 44-87.
Aleksandra Petrovi / Laza Kostic`S Remarks on Aesthetic Relation of art Towards
Reality by Nikolai Cernisevski
Summary / In this work opposed attitudes of these two important artists about understanding the relation between art and reality are presented. Cernisevski, being close
to positivism, believes that the main function af art is gnostic, so that its purpose is
to reproduct reality, to find and establish truth, which brings art close to history. On
the other hand, Laza Kostic denies science as possibility to understand beauty in art.
The poets contest of positivism of the Russian poet, presented in his Remarks on
Aesthetic Relation of Skill Towards Nature, found stronghold in unfounded and often
contradictious claims of the Rissian poet.
Key words: art, poetry, reality, fantasy, beauty, science
: 11. 2012.
2012.
129

82.02
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DUMONT.
Ana osi /
Resmee / Man kann die dadaistische Kunst aus zahlreichen Perspektiven entdecken
und deuten. Sie gilt als groe und bedeutsame Quelle fr die ewige Interpretation.
Die Vorstellung der Fiktion und Wahrheit bei Dadaisten ist kein heufiges Thema,
besonders wenn man die dadaistischen Werke mit der Antike vergleicht. Die bis
zum neunzehnten Jahrhundert geltenden antischen Normen, die von Aristoteles
und Platon eingefhrt wurden, werden in der dadaistischen Kunst kaum sichtbar.
Dadurch bekommt man eine neue Perspektive, durch die man die neue Kunst des
frhen zwanzigsten Jahrhundert deuten kann. Die neue Deutung wird am Beispiel
der prosaistischen Werke von Kurt Schwitters gezeigt werden, in den einige Modelle
der literarischen Wahrheit dargestellt worden sind.
Schlsselwrter: Wahrheit, Fiktion, Aristoteles, Platon, Schwitters
: 20. 2012.
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Nakladni zavod Matice hrvatske.
Nevena N. Martinovi / Dog Motif in the Iconography of Visual Arts
Summary / The study explores the double role given to the figure of the dog in visual
arts, painting in particular the role in saving and documenting the facts about mens
life in specific time and place, and the role of a symbol in which man imbeded and
saved his mytological-religious relation to the world that surrounds him. Although
there are many studies of this topic published in the word, there arent any translated
in Serbian or available in the country. That is why this text aims at bringing more
interest in Serbian art literature to the figure of dog in art. The study is concieved as
a preface for the more extensive research that will include the examples from Serbian
painting and sculpture which are very selectively suggested in footnotes.
Keywords: dog, man, symbol, mith, border, death
: 18. 2012.
2012.
160
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81367.332.3
81367.7
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2 178009 ,
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languages for special purposes, technical languages,
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43% : 14% , 39% : 24%
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169

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: , 6881.
Ivana Marinkovi / On Nominalization in the Language of the Academic Community
Summary / In this paper lexical and syntactic properties of academic discourse are
analyzed. Reviewing the literature we noticed the diversity of terminology for the
language of academic community. The research is mostly based on theoretical analysis
sub-genre of academic discorse, for example scientific article. It is shown that there is
hight frequency of nominalized construction in this kind of discourse, as well as some
other features of birocratic language, which results in hight degree of abstractness.
Keywords: nominalization, academic discourse, scientific functional style
: 5. 2012.
2012.
170
/ , ,

821.163.41-93.09:654.197
371.333
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, 1 elentsche@yahoo.com
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4 Scientifically based reading programs and evidencebased instruction limit the extent to which
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literacy instruction, as the idea of playing with the language and concepts of books comes in second
(at least) to scripted skills. As Berlak (2003:15) states:The most obvious consequence of using highly
prescriptive reading packages is the loss of flexibility the ability of classroom teachers and schools
to use their own judgment in selecting teaching materials and methods that respond to childrens
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2010: . ,
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/01/18.pdf, 25. 10. 2011.
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2008: D. D. Hasset, Teacher flexibility and judgment: A multidynamic
literacy theory, Journal of Early Childhood Literacy, vol 8(3), London, Los Angeles,
New Delhi, Singapore and Washington DC: Sage publications, 295327.
2003: . , ( ), , : .
Jelena Lj. Spasi / A Hibryd Genre in Serbian Literature for Children
Summary / The topic of this paper are linguistic and stylistic characteristics of poems
written in the form of news, in Serbian literature for children. The aim of the paper
is to show which linguistic and stylistic characteristics of news are singled out and
also which characteristics of poetry for children are singled out as dominant ones.
This hibryd genre of Serbian literature for children has been studied by applying both
linguostylistic and functionalstylistics criteria.
: 1. 2012.
2012.
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1996: R. Bugarski, Uvod u optu lingvistiku. Beograd: igoja tampa.

2003: D. Crystal, English as a global language. Cambridge: Cambridge
University Press
1986: R. Filipovi, Teorija jezika u kontaktu: Uvod u lingvistiku jezinih
dodira. Zagreb: Jugoslavenska akademija znanosti i umjetnosti kolska knjiga.
200
/ , ,
1990: R. Filipovi, Anglicizmi u hrvatskom ili srpskom jeziku: Porijeklo,

Razvoj Znaenje. Zagreb: Jugoslavenska akademija znanosti i umjetnosti kolska
knjiga.
2008: I. Laki, Anglicizmi u crnogorskom jeziku. U: Zbornik sa meunarodnog
naunog skupa Njegoevi dani, Cetinje: Institut za jezik i knjievnost Filozofskog
fakulteta, str. 321-328.
2011: . Milanovi, Anglicizmi u nazivima zanimanja u srpskom jeziku.
Neobjavljena master teza. Filoloki fakultet. Beograd
& 2012: A. . ,

, . XVII-1-2, 441-461
2005: . Pri, Engleski u srpskom. Novi Sad: Zmaj.
Poslovi Infostud. 2011. Srbija. (3.3.2011.) <http://poslovi.infostu.com>.
Ana Milanovi, Milan Milanovi / n Overview and Analysis of Anglicisms in Recent
Job Titles in Job Advertisements Published on the Internet
Summary /The aim of this paper is to provide insight into the existence of anglicisms
in titles of certain professions which may be found in job advertisements published on
the Internet. The anglicisms observed in this paper are analyzed from the perspective
of their type and the manner of their formation. In line with this, they are classified
as obvious, hidden, and raw, whereas they can be said to have been formed using the
techniques of reshaping, translation, or a combination of the two, resulting in mixed
anglicisms; while a number of these titles are used in the Serbian language in the
very same form as in the language they originate from, i.e. English. The professions
observed in this paper refer to the fields of economy, finances and banking; human
resources; marketing; management; and public relations. The observed anglicisms are
found in the titles of various professions associated with the above-mentioned fields,
which are published on the web pages of the leading portal where job vacancies are
advertized, and which offers statistical data referring to the popularity of the given
professions, as well as data on qualifications and job requiremens these professions
include. The analysis of anglicisms will show that a number of these words have
already been adapted to the system of the target language, in which these words fill
in the missing lexical contents, in the circumstances of transitional economy.
Key words: anglicisms, job advertisements, type of anglicisms, type of formation,
the Internet
: 25. 2012.
2012.
201

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p 1991: . , , : .
2001: . , , :
2, : .
2003: . Veblen, The Theory of the Leisure Class, Hazelton: he Pennsylvania
State University.
2001: . . , , : .
2008: . , , : ,
: .
2003: F. Aubert, Fictionalisation and Identity in Brett Easton Elliss Glamorama,
Paris: Universite Charles-De-Gaulle.
Natalija Stojkovi / Consumer Culture, Identity, Ideology: (De)Construction of
Identities in B.E.EllisS Novel Glamorama
Summary / This paper deals with the novel Glamorama by Brett Easton Ellis, and the
problem of the identities of characters and of the text itself, as well as the readers role
in the creation of the text. Relying primarily on Baudrillards theory of simulacra and
simulations, as well as on Adornos aesthetic theory and Baals terms from his theory
of narratology, the paper analyzes the complex structure of the novel in which Ellis
craftily intertwines the layer of the actual reality with the multiple layers of the
simulated movie-reality within the text. In the movie simulacrum which gradually
grows to become the sole reality, identities become an impossibility and humanity
is substituted by roles inside the characters own simulated lives, bereft of any kind
of personal investment, while personal identity is substituted by a combination
of imprinted ideological constructs adequate for the prescribed role. In his novel,
using grotesque and satire, Ellis unveils the mechanisms governing the ideologie
of the consumer society and culture, as well as the directed and prescribed modes
of human existence within this kind of society, thus deconstructing and unfolding
identity and reality as tropes.
Keywords: identity, simulation, ideology, consumer culture, (de)construction, cinematographic, reality, (un)involvement
: 1. 2012.
2012.
214
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1982: . Miima, Zlatni paviljon, Beograd: Nolit.

2011: . , , Opus Primum
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2011: . , ,
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2004: . , , : .
1997: . , , : .
Milutinovi, Jelena Andreji / Leap into the Freedom of Identity in Mishimas
Novel Golden Pavilion
Summary / The aim of the work is to show how the leap into freedom is possible only
by preserving identity through tradition and literature. After it is ascertained what
the leap into freedom is actually, giving the example of Yukio Mishimas novel Golden
pavilion, we will see the emphasized difference between pompous modernism and
trapped tradition, which is, with the existance of modernism, being oppressed. The
hero of the novel, thus, makes an effort to find the medium which would connect him
with idem-identity of deceptive Golden pavilion. This pavilion is, in fact, the symbol
of technology and the world which is based on it. Technology offers utopian image
of the world but with the consequence of deleting the past, history, tradition. The
aim of the paper is, thus, to show that by finding and recognizing the identity, the
leap into authentic freedom is possible, only by following the idea of transcendence,
in dialectic correlation between historic and nonhistoric.
Key words: freedom, identity, the self, leap, tradition, modernism
: 23. 2012.
2012.
220
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221
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( 87 ), ,
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1990: . , , : .
1999: K. Brownlow, Rediscovered Mery Pickford, Harry Abrams Inc.: New
York.
1996: A. , , : .
1994: . , ,
: , .
1998: . Yeoman, Now or Neverland, Inner City Books: Toronto.
1992: R. E. Pearson, Eloquent Gestures, University of California Press: Los
Angeles.
Jelena Radenovi / Mary Pickford and Hollywood: Lifa as a Simulacrum
Summary / Mary Pickford was the first world superstar and the first actress to achieve
international fame. She was one of the creators of the silent film acting language. She
developed an acting technique based on minimalism and simplicity, without losing
any strength in expression or emotion. A new film language thus emerged, a physical language, based on signs instead of words. Despite her tendency toward realism
in the film, in the real life she had to play the characters from the big screen. The
Hollywood marketing was trying to make the audience believe that she was actually
playing herself, that she herself was this Cinderella who had escaped poverty and
had made her dream come true. Baudrillards thesis, asserting that the boundary
between art and reality faded out entirely the two having collapsed in a universal
simulacrum, is evident here. Once the audience started to believe in Mary Pickfords
eternal youth, they became merciless. They were no longer interested in any of her
other accomplishments, nor in what she was really like, in what the truth or reality was.
: 15. 2012.
2012.
227

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1 jelenkapandurevic1@gmail.com
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Summary / As the result of reading there are two types of reading novel Bernardies
Room by Slobodan Tima. First version of interpretation is founding of hypertextual
connections, while the second gives few ideas of this novel of ideas. Basic thread
follows the transformation of this conception from platonic idea to idea in the age
of mechanical reproduction of art.
Keywords: ideas, construct, co-merc, game, forgery
: 19. 2012.
2012.
246
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Morphology2
Edinburgh: Edinburgh University Press, 2003, 366 .

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aslav Nikoli
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XIII / 48 / 2012.

aslav Nikoli, Assisstant Professor, PhD

Vladimir Polomac, Assisstant Professor, PhD

Nikola Bubanja, Assisstant Professor, PhD

Jelena Arsenijevi, Assisstant, PhD

prof. Persida Lazarevi di Giakomo, Full Professor, PhD

Jelenka Pandurevi, Assisstant Professor, PhD

Svetlana Kalezi, Assisstant Professor, PhD

Ivan Maji, Assisstant Professor, PhD

Ostap Slavinski, Assisstant Professor, PhD

Borjan Janev, Assisstant Professor, PhD

prof. Aleksandar Jerkov, Associate Professor, PhD

Negating the Human: Political Correctness

Laurie Bauer, Introducing

Lipar / Journal for Literature, Language, Art and Culture

Lipar / Journal for Literature, Language, Art and Culture

(Our birth is but a sleep and forgetting:

(That evermore his teeth they

(Goody Blake was old and poor;

(The eye it cannot choose but see;

(His body was bent double, feet and head / Coming

: (Resolution and Indipendence).

(Though nothing can bring back the hour

(The still, sad music of humanity;21 All

(there were none to praise), (few to love),

1988: W. Wordsworth, The Complete Poetical Works, London: Macmillan

2007: Blooms Modern Critical views: William Wordsworth Updated edition,

Lipar / Journal for Literature, Language, Art and Culture

Lipar / Journal for Literature, Language, Art and Culture

Negating the Human: Political Correctness

immediate assumption often made is that Oleanna essentially deals with

Negating the Human: Political Correctness in David Mamets Play Oleanna

Negating the Human: Political Correctness in David Mamets Play Oleanna

us in reconstructing what goes on behind the scenes, and in such a way in

Negating the Human: Political Correctness in David Mamets Play Oleanna

is what becomes the crucial cause of his downfall. Moreover, we get to

Negating the Human: Political Correctness in David Mamets Play Oleanna

Holvej, Deferson 1996: W. Hollway, T. Jefferson, PC or Not PC: Sexual Harassment

Lipar / Journal for Literature, Language, Art and Culture

o e a a (Bartleby, the Scrivener) a

oaaaj a a oae aeaa ao a a a

1965: N. Canaday, Captain Delano and the Problem of Authority, in A Benito

Lipar / Journal for Literature, Language, Art and Culture

, / Being, Man and Play in Vasko Popas Poetry

Lipar / Journal for Literature, Language, Art and Culture

Lipar / Journal for Literature, Language, Art and Culture

Lipar / Journal for Literature, Language, Art and Culture

2009: P. Abot, Uvod u teoriju proze. Beograd: Slubeni glasnik.

2000: R. Vukovi. Srpska avangardna proza. Beograd: Otkrovenje.

, 1983: J. Chevalier, A. Gheerbrant, Rjenik simbola, Zagreb:

Lipar / Journal for Literature, Language, Art and Culture

Lipar / Journal for Literature, Language, Art and Culture

Lipar / Journal for Literature, Language, Art and Culture

Lipar / Journal for Literature, Language, Art and Culture

1996: R. Bugarski, Uvod u optu lingvistiku. Beograd: igoja tampa.

1990: R. Filipovi, Anglicizmi u hrvatskom ili srpskom jeziku: Porijeklo,

Lipar / Journal for Literature, Language, Art and Culture

1982: . Miima, Zlatni paviljon, Beograd: Nolit.

Lipar / Journal for Literature, Language, Art and Culture

Laurie Bauer, Introducing Linguistic

Laurie Bauer, Introducing Linguistic Morphology

. -able (to Koreanise the US

Laurie Bauer, Introducing Linguistic Morphology