Lipar 54

XV / 54 / 2014.
Editorial Board
.
- ,

aslav Nikoli, Assistant Professor, PhD

Faculty of Philology and Arts, Kragujevac
Editor in Chief
.
- ,
Vladimir Polomac, Assistant Professor, PhD

.
- ,
Nikola Bubanja, Assistant Professor, PhD


- ,
Jelena Arsenijevi, Assistant, PhD

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

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

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

Faculty of Philosophy in Niki, Montenegro
.
, ,
Ivan Maji, Assistant Professor, PhD

Faculty of Philosophy in Zagreb, Croatia
.

, ,
Ostap Slavinski, Assistant Professor, PhD

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

University of Plovdiv, Plovdiv, Bulgaria

- ,
Editorial assistant
Bojana Veljovi
, ,
Journal for Literature, Language, Art and Culture
XV / 54 / 2014
Year XV / Volume 54 / 2014

University of Kragujevac
Je M. Ko

,

................... 9
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................................ 27
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....................................... 43
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.................................................... 57
Biljana R. Vlakovi
BERNARD SHAW AND THE FEMALE VOICE.............................. 81

.

........................ 93
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...................................................................... 107
.
,

...................................................................... 115
-

CITY CLUB................................................................. 131
:
................... 139

........ 153
.

................................................................................... 171
Stefan P. Pajovi
ELEMENTS OF THE EARLY GOTHIC IN E. A. POES THE FALL

OF THE HOUSE OF USHER........................................................ 185
-

.............................................................. 201

UNBOUNDED TELIC SITUATIONS IN ENGLISH LANGUAGE

AND THEIR TRANSLATION EQUIVALENTS IN SERBIAN...... 213
,
............................................ 225

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25
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Jelena M. Kova / RESEARCH ON ENDANGERED LANGUAGES IN FAMILY DOMAIN, EDUCATIONAL DOMAIN AND DOMAIN OF LOCAL COMMUNITY WITH
THE GOAL OF LANGUAGE MAINTENANCE AND LANGUAGE REVITALIZATION
Summary / There has been an issue regarding endangered languages in the world
over five decades. It is estimated that most of the worlds languages are in danger of
extinction. After the theoretical overview of the concepts of the domain of language
use, language shift, language revitalization and language policy, we provide an overview
of relevant research on endangered languages aimed at the process of language shift,
language maintenance and language revitalization in the family domain, the domain
of education and the domain of local community. We also analyze other important
aspects in the process of language revitalization such as the importance of literacy
in threatened language. Finally, we take into consideration the linguistic situation
in Europe and possible implications of the endangered languages research to the
European linguistic situation. The results of the research have shown that there are
two essential domains when it comes to successful linguistic revitalization, family
domain and the domain of education. It is necessary to provide transmission of endangered language and introduce endangered languages in the educational system.
Keywords: endangered languages, language shift, language revitalization, family
domain, local community domain, educational domain.
: 5. 2014.
2014.
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Milka V. Nikoli / Functional-stylistic approach to teaching languages in the case
of syntactic subsystems and comparative modal units
Summary / This paper examines the possibilities of applying functional-stylistic
approach to teaching languages, and the goal is to design an appropriate manner
structuring teaching process in order to improve the skills of the students the proper
use of language units (planned curriculum) in all functional styles. Looking at the
broader level, thus contributing to the building of communicative competence of students. Application functional-stylistic approach requires that the teaching process is
structured as follows: (a) in the first stage students perceive and describe the linguistic
units that are the center of attention; (b) in the second stage examines the stylistic
function given linguistic units referred to as belonging to a specific functional style.
The aforementioned methodological procedures in this paper reviewed the case and
syntactic subsystems comparative modal units. Functional-stylistic analysis of certain
linguistic units referred to specific functional style allows the correlation-integration
educational system has been implemented in unifying subject areas language and
culture of expression. If this mode application in the interpretation of literary works,
then connect all three teaching areas - language, culture and literature of expression.
Keywords: functional-stylistic access, language teaching, the correlation-teaching
system integration, functional styles, cultures expression, communicative competence,
syntactically subsystem comparative and modal units.
: 9. 2014.
2014.
42
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41, Gainesville: University of Florida Press, 1973.
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Eugene A. Nida, Linguistics and ethnology in translation problems, in Nida, Eugene A.:
Exploring Semantic Structures, Munich: Wilhelm Fink Verlag, 1975 [1945], 194-208.
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. 2013.
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Maria Tymoczko, Translation in a Postcolonial Context, Manchester: St. Jerome, 1999.
46
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11
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1: , : , 2007.
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54
/ , ,
Divna Rulic, Andjelka Pejovic / La traduccin de los nombres propios en la literatura juvenil e infantil
Resumen / El tema del presente trabajo es la traduccin de los antropnimos y los
topnimos en la literatura infantil y juvenil. El objetivo del trabajo es demostrar
cmo debe plantearse el problema de los culturemas en la traduccin de la mencionada literatura. Asimismo nos proponemos responder a la pregunta de si se pueden
traducir y cundo los nombres propios, y cules son las estrategias y tcnicas traductoras que ms se aplican al verterlos a otro idioma. Se demuestra que es dificl sacar
conclusiones generales que puedan aplicarse a todas las obras de la literatura juvenil
e infantil, por lo cual las conclusiones a las que se llega se refieren ms bien a casos
particulares. No siempre es posible aplicar las mismas tcnicas consecuentemente,
si se tiene en cuenta el lector, sus intereses y la posibilidad de que entienda o acepte
de manera adecuada el contenido traducido que, a su vez, ha de reflejar y transmitir
tambin el mensaje del escritor.
Palabras clave: antropnimos, topnimos, culturemas, la literatura infantil y juvenil,
traduccin.
: 13. 2014.
2014.
55

371.3::811.112.2243
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desire and compulsion to participate in, and be successful in, the learning
process, it seeks to increase the factors that move a student toward becoming
more involved in the class and the subject matter. ( ., 1997: 36,
2001:64)3
[...] the combination of effort plus desire to achieve the goal of learning the
language ( 2007: 10)4
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cumulative arousal in a person that initiates, directs, coordinates, amplifies,
terminates, and evaluates the cognitive and motor processes whereby initial
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/ (2010): Barkowski, Hans/Krumm, Hans-Jrgen, Fachlexikon
Deutsch als Fremd und Zweitsprache, Tbingen: A. Francke.
, (2007): Grundlagen der Didaktik und Methodik des Unterrichts
Deutsch als Fremdsprache, : , .
(2007): Gardner, Robert, Motivation and second language acquisition, Porta
Linguarum, 8, 2007: 9-20.
/ (1972): Gardner, Robert/Lambert, Wallance, Attitudes and
motivation : Second language learning, Newbury House.
(2001): Drnyei, Zoltan, Motivational strategies in the language classroom,
Cambridge: Cambridge University Press.
, (2006):
, , 4, 4-5, . 159-172.
(1973): D. R. Krathwohl, B. S. Bloom, B. M. Bertram, Taxonomy of
Educational Objectives, the Classification of Educational Goals. Handbook II: Affective
Domain, New York: David McKay Co. Inc.
(1994): Rsler, Dietmar, Deutsch als Fremdsprache, Stuttgart/Weimer: Verlag
J. B. Metzler.
-, (1984):
, : .
(2008): Storch, Gnther, Deutsch als Fremdsprache. Eine Didaktik, Paderborn:
Wilhelm Fink.
Marija Nijemcevic / Motivation von Schlern beim Erlernen der deutschen Sprache
Zusammenfassung / Dieser Beitrag befasst sich mit der Motivation von Grundschlern zum Erlernen der deutschen Sprache. Zahlreiche Untersuchungen haben gezeigt,
dass der Lernprozess sowohl von kognitiven als auch von affektiv emotionalen
Faktoren beeinflusst wird. Eng verbunden mit den Emotionen ist die Motivation ,
die als affektives Lernermerkmal einen wesentlichen Einfluss auf den Erfolg und
die Schnelligkeit des Lernens einer Fremdsprache hat. Verschiedene Faktoren, die
die Lernmotivation beeinflussen, dienen als Grundlage bei dieser Untersuchung,
in der festgestellt werden sollte, in welchem Mae die Grundschler zum Erlernen
der deutschen Sprache motiviert sind und was dazu beitrgt. Die durchgefhrte
Untersuchung hat gezeigt, dass der Motivationsgrad bei den Schlern nicht allzu
hoch ist und dass die Schler im Deutschunterricht negative Gefhle haben. Die
Schler finden Unterrichtsprozess nicht abwechslungsreich und interessant genug
und die Grnde dafr liegen in hohem Grammatikanteil und ungengender Einsatz
von Medien. Hier sollte noch ein wichtiger Faktor genannt werden, nmlich Lehrer,
denn seine Haltung gegenber dem Fach, dass er unterrichtet, den Schlern, seine
Fhigkeiten, sowie seine Persnlichkeit knnen zur Erhhung bzw. Senkung der
Lernmotivation beitragen.
Schlsselwrter: Motivation von DaF-Lernenden, Grundschule, Motivationsfaktoren,

Deutschunterricht, Deutschlehrer
: 26. 2014.
2014.
77

821.111-83.09 Shaw G. B. : 342.7-055.2
Biljana R. Vlakovi1
Faculty of Philology and Arts
BERNARD SHAW AND THE FEMALE VOICE
This paper deals with the basic aspects of Bernard Shaws artistic and socialistic approaches to
the feminist causes. Shaws views on female self and sexuality have been found controversial
by various critics, primarily because they ridicule traditional roles of women as wives and
mothers. As such, they have been the source of a fundamental misunderstanding of Shavian
art and politics. By providing the suitable context for Shaws feminism and by delineating various responses to Henrik Ibsens concept of the New Woman, the paper traces Shaws gradual
transition from his early description of women as confined to the realm of the domestic and
sexual to his later championship of female issues, as seen in his ardent support for womens
right to work, get divorce, educate themselves, and become equal to men.
Key Words: Bernard Shaw, feminism, prostitution, divorce, New Woman, gender equality
In his book on Shakespeare, Terry Eagleton (1986: 64-65) explains

why the Elizabethans used the word nothing to denote the female genitals.
He says that from a phallocentric point of view, men find it reassuring that
women have nothing between their legs, since this reinforces the males
power over the female. However, a womans nothing can also become a
yawning abyss within which man can lose his virile identity. In this
regard, the sweet nothing becomes a sinister everything, for the essence of
the riddle of woman is her power to incite the tumultuous everything of
desire in man himself, and so destroy him. The most famous Elizabethan
playwright described this power play between Man and Woman in many of
his plays and notably in his sonnets, giving a more tantalizing, hence more
ominous, role to what was then considered the weaker sex:
All this the world well knows; yet none knows well
To shun the heaven that leads men to this hell. (Shakespeare 2002: 731)
Hell in Shakespeares vocabulary equals the meaning of nothing. With

the image of hell, it does not take a great leap of the imagination to conceive
of a sweltering abyss in the middle of which Man can easily find himself
engulfed in flames of his own desire. In view of this, it seems appropriate
that Bernard Shaw (1856-1950) should set the scene of John Tanners
capitulation to Ann Whitefield in a dreamlike Hell, for, as Dietrich (1986:
1
biljanavlaskovic@gmail.com
81
Biljana R. Vlakovi
438) notes, Shaw believes Hell to be the proper place for marriages to
be made. Moreover, in Man and Superman, Shaw inverts the conventional
romantic conception of the female as the weaker sex by making the woman
the pursuer and contriver and the man the pursued and disposed of
(Shaw 1946a: 17), thereby following the Shakespearean law:
And when a woman woos, what womans son
Will sourly leave her till she have prevailed? (Shakespeare 2002: 723)
This paper champions Bernard Shaw as the playwright who changed

the very concept of female sexuality and self, both in his plays and prefaces,
as well as his philosophical essays. The analysis will trace the developmental
path of Shaws views on the female self and sexuality, from the anti-feminist
influence that Ernest Belfort Bax, an English socialist and philosophical
essayist, exerted over Shaw even before he was acquainted with the misogyny
of Schopenhauer, to the evident change in Shaws later works in which
he devotes his artistic sense to defending the rights of women. Contrary
to some popular views of Shavian critics, we will argue that in exposing
modern women as the sex more active and vibrant than was thought before,
Shaw did not put forward his misogynistic views, but rather the opposite:
following the Nietzschean tradition, he became the mouthpiece of the reexamination of the stale views on female self and sexuality.
When in 1869 John Stuart Mill wrote his famous essay The
Subjection of Women, the ideal image of Woman as mother and wife had
already been anchored in the 19th century society. That a woman should be
independent seemed extremely unnatural for patriarchal societies, which
regarded the female sex as one that is incapable of taking care of itself.
Consequently, the common view was that women should be confined to
the safety of their family homes under the watchful eye of their husbands.
Opposing this, Mill (1999) wrote:
But, it will be said, the rule of men over women differs from all these others in not being a rule of force: it is accepted voluntarily; women make no
complaint, and are consenting parties to it. In the first place, a great number
of women do not accept it.
Twenty-two years after Mill, Bernard Shaw fought for the same
cause in The Quintessence of Ibsenism (1891), by averring that [i]f we have
come to think that the nursery and the kitchen are the natural sphere of
a woman, we have done so exactly as English children come to think that
a cage is the natural sphere of a parrot: because they have never seen one
anywhere else (Shaw 1915: 45).But the doors to the house, theretofore
imagined as a cage, were boldly opened and slammed by Ibsens Nora in
1879, and ten years later in London as well, when the play premiered at
the Novelty Theatre. Ibsen, the hero of the new departure (Shaw 1946b:
12), steered the theatrical art away from the womanly woman towards the
82
/ , ,
unwomanly woman, which proved to have exerted a tremendous influence

on Shaw, who accepted Ibsens philosophy.
Yet, not all people were thrilled with the concept of New Woman.
Shaws fellow socialist, Ernest Belfort Bax, responded to Mills essay by
writing The Legal Subjection of Men in 1908, in which he reproaches
the Civil Law for being unjust to men by giving so many privileges to
women. He goes to great lengths to ensure that he has included each of the
privileges that women have, one of them, and the most interesting, being
Impunity to murder husband, by using, for example,
Violence: A wife is still weak woman when armed with a poker, a metal
pot, a vitriol bottle, a petroleum can, or a revolver. If these lethal substances
killed her husband it must have been by accident. In any case he had taken
her for better or worse, and had to put up with the consequences. Why did
he cross her temper? Besides, even if she were ill-tempered, why did he not
make a better selection when marrying? (Bax 1908)
According to Bax, there are still many different ways to dispose of

a husband poisoning him, stabbing him, setting him on fire, driving a
wagon over him and he gives an appropriate example of each, stressing
that in each of these cases the wife was not, if at all, fairly punished for
her crime, simply because she was regarded as the weaker sex (Ibid). Baxs
misogynistic attitudes were so deep that they would provoke romantic
protests from Schopenhauer himself, Shaw (1960: 12) admitted in his
preface to Major Barbara. Being a personal friend of Shaws, Bax acquainted
him with the homoist attitude and forced him to recognize the extent to
which public opinion is corrupted by feminist sentiment (Ibid). Thus,
during the 1890s, as Kerry Powell (1998: 82) notes, Shaw was in substantial
agreement with a long, often unspoken Victorian tradition which deemed
the writing of drama to require a cast of mind recognized as masculine2,
which he defines as Shaws confused response to the developing identity
of the New Woman in the 1890s (90):
[F]or Shaw, a womans strength is misdirected and grotesque unless fundamentally sexual, seeking out and compelling a superior man to mate with
her and produce supermen. Like many men of the 1890s, therefore, Shaw
could be enthusiastic about the New Woman when he could imagine her
disruptions being confined to the realm of the domestic and sexual. (78)
Although this is true of the early Shaw, the cogency of Powells

argument must be disputed with regard to Shavian discourse as a whole. In
2
Powell (1998: 86) further notices that the New Woman movement as it touched the theatre
depended to a large degree on the ability of women to write plays, but repeatedly Shaw discredited the
efforts of women as playwrights, [primarily because of] an excessive amount of feeling in those plays
His reactions in the aggregate suggest a skepticism that women could write good drama at all, although
he stopped short of the sweeping assertions that Victorian men often made about womens lack of
capacity for playwriting.
83
Biljana R. Vlakovi
Quintessence of Ibsenism, to give but one example, Shaw (1915: 44) states
that the domestic career is no more natural to all women than the military
career is natural to all men. Yet, even though Shaws attitudes towards
female sexuality would change considerably in the years to come, he never
abandoned his moderate Fabian political views which shaped the writings
of his plays too rigidly, for which he was severely reprimanded by Emma
Goldman in The Social Significance of Modern Drama (see Powell, 1998: 81).
The attacks on the female sex came not only from Bax, but from all sides,
and were not limited to the island. The most famous non-English misogynist
was Arthur Schopenhauer, who wrote in his essay On Women that
[i]t is only the man whose intellect is clouded by his sexual instinct that
could give that stunted, narrow-shouldered, broad-hipped, and short-legged
race the name of the fair sex; for the entire beauty of the sex is based on this
instinct. One would be more justified in calling them theunaesthetic sexthan
the beautiful. (Schopenhauer 1970: 85)
These condemnations further escalated in the works of Friedrich

Nietzsche, who thought that a man must think of a woman as a
possession, as confinable property, as a being predestined for service and
accomplishing her mission therein (Nietzsche 2006: 166), whereas in Thus
Spake Zarathustra his famous advice to all men was to ensure their women
were tamed: Thou goest to women? Do not forget thy whip! (Nietzsche
1911: 77). In the midst of this vigorous criticism of women in the works of
the two influential German philosophers, and in spite of the ideas which
Bernard Shaw shared with the latter, the socialist in him obliged him to
speak in behalf of womens cause and equal rights for both genders. Thus,
as early as 1884, Shaw composed a Manifesto for the Fabian society, laying
down the equal rights of men and women as one of its main principles.
Men no longer need special political privileges to protect them against
Women, Shaw (1884: 2) wrote, and the sexes should henceforth enjoy
equal political rights.
In her essay on Bernard Shaw, whom she wittily calls a feminist
in spite of himself, Sally Peters (1998: 3) draws analogies between
Shaws relationship with his mother, coupled with his observance of her
progressive behavior, and Shaws later feminism. She claims that it was
his mothers assertion of female power and her defiance of assigned female
roles concerning sexuality, respectability, and career fulfillment that
most affected Shaw (6). As stated by Peters, Shaws novels, which were
written prior to his plays, all reveal his early feminist sympathies (9), and
concludes that in the writers comic universe, women are more than equal
to the ineffectual men around them (18). Accordingly, Shaw (1961: 174)
sardonically describes Woman as really only a man in petticoats, whereas
reversely, Man is a woman without petticoats. Therefore, instead of a phallus
or a phallic object, petticoats become the signifier of gender. Shaws most
famous heroine, Saint Joan, reinforces this satirical statement and shocks
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her judges by refusing to dress as becomes her sex, because the very
thought of living among soldiers in petticoats is unbearable:
I was a soldier living among soldiers. I am a prisoner guarded by soldiers.
If I were to dress as a woman they would think of me as a woman; and then
what would become of me? If I dress as a soldier they think of me as a soldier, and I can live with them as I do at home with my brothers. That is why
St Catherine tells me I must not dress as a woman until she gives me leave.
(Shaw 1952: 160)
This is expressed somewhat mockingly in several other plays, in

which Shaw depicts his heroines as manly dressed, unusually strong,
drinking whiskey and smoking cigars. While some feminists deemed Shaws
caricature of the New Woman highly inappropriate (see Powell, 1998: 78),
we believe that his comedy had a subversive role with the goal of shocking
the audience and consequently changing the current state of affairs.
Interestingly, it was precisely this image of women smoking cigars that
helped promote control of the masses and the change of consumers habits
during the 1920s in the United States, when Sigmund Freuds American
nephew, Edward Bernays, used the theories of his uncle to manipulate the
crowds3, as Adam Curtis (2002) shows in his documentary The Century of
the Self. Advised by certain psychoanalysts, Bernays realized that the only
way to boost the selling of cigarettes was to convince women that cigars
are their source of masculine power. Having the right shape for a phallic
object, cigars came to represent male sexual power, and in the hands of a
woman challenged the stronger sex, since women now came to have their
own penises and were not regarded as deficient any longer.
Shaws early heroine who fits the description of New Woman is
Vivie Warren from Mrs. Warrens Profession (written in 1894, performed
in 1902), a 22-year-old attractive specimen of the sensible, able, highly
educated young middle-class Englishwoman prompt, strong, confident,
self-possessed (Shaw 1946b: 214), in short, everything that a woman
was not supposed to be at the time. But even more important than the
challenging description of Vivie is the overall topic of the play female
prostitution which, as Shaw (181) states, is caused by underpaying,
undervaluing, and overworking women. Shaw deliberately chose to start
his dramatic career with Plays Unpleasant, Mrs. Warrens Profession being
one of them. The author himself realized that this move was anything but
beneficial for an upstart crow, but he decided to fight the theatre with
plays (185). Starting from the belief that poverty is the root of all evil,
Shaw claims that women are often forced to turn to prostitution because
they lack basic means of survival, and depicts Mrs. Warren, Vivies mother,
as one such woman, who, because of her indigent youth, had no alternative
3
At the core of Freuds theories was the following idea: By satisfying peoples inner selfish
desires, one made them happy and thus, docile (Curtis 2002).
85
Biljana R. Vlakovi
but to resort to prostitution and eventually become a brothel owner.

The unpleasant thing about this play is not so much the mentioning of
prostitution as the way Shaw (220) describes Mrs. Warren, as on the
whole, a genial and fairly presentable old blackguard of a woman, which
alone explains why the play had been banned by the Lord Chamberlain
for full eight years. Complaints about Mrs. Warren not being wicked
enough did not deter Shaw from achieving his aim, which was to throw
the guilt of her profession on the British public (201). He managed to show
that poverty denied womens right to choose, since there were no moral
alternatives to choose from: For the alternatives offered are not morality
and immorality, but two sorts of immorality (202). Vivies astonishment
at having learned that her education had been paid by the money earned
from brothel keeping is soon waved aside by Mrs. Warrens defence of
herself, which, Shaw (201) says, is
not only bold and specious, but valid and unanswerable. But it is no defence
at all of the vice which she organizes. It is no defence of an immoral life to
say that the alternative offered by society collectively to poor women is a
miserable life, starved, overworked, fetid, ailing, ugly.
Thus, prostitution must not be regarded as a willingly chosen

vocation, but a kind of slavery no woman would choose had she another
way out of poverty. Since the position of women in patriarchal societies
had been poor from times immemorial, prostitution was often described as
the oldest trade there is, and Shakespeare treated it as such in Measure for
Measure, showing also the positive effects of this underworld. His Pompey,
the bawd, says that
Twas never merry world since, of two usuries, the merriest4 was
put down, and the worser5 allowed by order of law a furred gown to keep
him warm (Shakespeare 2002: 468),
and adds that unless the officials of Vienna geld and splay all the
youth of the city (463), prostitution will survive as a lawful trade, because
the youth will tot then (Ibid). The problem is that in Shakespeares play,
apart from Mistress Overdone, the prostitutes are silenced, as Jonathan
Dollimore observes:
The prostitutes, the most exploited group in the society which the play represents, are absent from it. Virtually everything that happens presupposes them
yet they have no voice, no presence. And those who speak for them do so as
exploitatively as those who want to eliminate them. (Cited in Friedman 2014)
4
5
86
Prostitution
Money lending
/ , ,
In Mrs. Warrens Profession, Shaw does the opposite and fights against
the exploitation of women in the British society by granting them voice.
Prostitution, however, is not the only example of economic slavery
amongst women. Staying in a bad marriage simply because the wife is not
able to provide for herself on her own is another example of such slavery
and the issue against which Shaw raises his voice in his play Getting Married,
in which he describes divorce as not the destruction of marriage, but the
first condition of its maintenance (Shaw 1920: 70). At the time when the
play was being written (1908), the 1857 Matrimonial Causes Actwas still in
effect. According to this Act, ordinary6 people were allowed to divorce, but
the process was too expensive, and what is more, women were obliged to
prove not only their husbands adultery, but also additional faults, which
included cruelty, rape and incest (Guardian 2009). In brief, there were
more whys for the woman to answer than the man, so Shaw (1920: 66)
was adamant: The one question that should never be put to a petitioner
for divorce is Why?. Unfortunately, having died in 1950, he never got the
chance to see his ideas come true as they did, but not until 1969, when the
Divorce Reform Act was passed, according to which a marriage could be
ended if it had irretrievably broken down, and neither partner no longer
had to prove fault (Guardian 2009).
Shaws ideas can be said to have been too progressive for his time, but
many of them eventually found their way to accomplishment. The solution
to the economic slavery of women was fairly simple: the Government
needed to make the sexual relations between men and women decent and
honorable by making women economically independent of men (Shaw
1920: 90), which would also solve the problem of unemployment and
underpayment of women. Shaw reasoned that in that way women could
be allowed to broaden the sphere of their activities and get out of the
household in order to achieve economic independence. Thus, divorce would
become a natural thing, even a desirable one if the couple was ill-assorted,
and by granting its possibility without asking the petitioner why, it was
probable that many couples would not even petition for it, since no room
feels like a prison if the door is left open (70). When in 1912 the report
of the British Royal Commission counseled radical changes in the existing
laws on divorce, some spoke in favour of these, others disparaged them.
Mr. Shaw, speaking for both sides, said: The moral of both the majority
and the minority report is, Dont get married (New York Times 1912). That
is, dont get married unless you are granted the possibility to leave the
marriage once it has become a locked cage. In his article on divorce, Daniel
De Leon (1912) describes these changes as being primarily concerned with
6
My italics. Ordinary is presumably an allusion to the famous divorce of not such an ordinary man, King Henry VIII (1491-1547), whose divorce (1533) led to the separation between the
Roman Catholic Churchand the Church of England the following year. The event is known as The
English Reformation. For more insight on this topic, refer to: Trueman 2006.
87
Biljana R. Vlakovi
the placing of husband and wife on an equality of duty in the matter of

chastity. He claims that socialism
tore the veil that covered womans degradation, and it pointed the finger
upon the degradation itself It pronounced the flowers thorns, and it
foretold that the flowers would wither to make room for the restoration of
womans freedom; along with that, as a consequence, the purification of man.
Finally, like Shaw, De Leon suggests that divorce is better for the
man, it is better for the woman, it is better for the children, it is better for
society that matches that have suffered shipwreck be not perpetuated by
shams (Ibid).
Shaws socialist ideas and solutions to the female problem got their
full expression in his colossal non-fiction work, The Intelligent Womans
Guide to Socialism and Capitalism (1927), which Michael Holroyd (1998:
557) calls Shaws political autobiography the summary of a lifetimes
thought [and] a work of eloquent insight and fantasy. Coincidentally,
the voting age for women was lowered from thirty to twenty-one just six
weeks prior to the publication of the Guide (556), whereas in 1929, the
democratic equality of one adult one vote was finally reached (Ibid). The
circumstances surrounding its publication helped promote Shaws Guide
and made it one of the most relevant feminist texts produced ever since.
The key features of the book are its plain definitions of the subject that is
usually considered very hard to grasp. For example, Shaw (2005: xxxvii)
defines socialism as an opinion as to how the income of the country
should be distributed. At the core of socialism lies the conviction that
everybody should have an equal share, but in order to come to that final
step in political evolution, one must start with the current state of affairs
and raise many questions, such as How much for each? Should each get
what she produces? Should each get what she deserves? Should each get
what she can grab? How much is enough? What should we buy first?
etc. One of the most important issues in the Guide is the problem of the
underpayment of women:
Mens wages are family wages, womens wages individual wages. The effect is to make the proletarian married woman the slave of a slave, and to
establish conventions that the man is the breadwinner; that the womans
work in the home, being apparently gratuitous, is not work at all; and that
women, when they are directly paid for their work, should be paid less than
men. (Shaw 2005: lii)
Without delving too deeply into Shaws politics, we will merely point
to the already conspicuous use of the pronoun she in the above-quoted
questions. The fact is, and sixty-five years after Shaw, Drucilla Cornell
(1992) stressed it again, that in patriarchal cultures what is human is too
often labeled masculine, giving the impression that the feminine part of
88
/ , ,
humanity is invisible. When Cornell speaks of equivalent rights, she deems

it essential that one becomes aware of the marked difference between
the masculine and feminine gender/sex. Only together can they make the
whole of what we call human.
It seems quite remarkable that a cause which Shaw championed
was still being fought for during the last decade of the 20th century.
Nevertheless, women have one important advantage over men, that of being
able to bear children. And this is where Shaws political, philosophical, and
artistic ideas come together, most notably in Man and Superman. When
the question of giving birth to a Superman is raised7, the female gender
inevitably dominates over the masculine. Similarly to Shakespeares bold
heroines, Shaws female characters do not wait passively for their man to
make the first step, but take initiative instead. Therefore, Ann Whitefields
cry across the fantastic hellish universe for the Supermans father (Shaw
1946a: 173) is consistent with Nietzsches (1911: 75) description of women
in Zarathustra: Everything in woman is a riddle, and everything in woman
hath one solution it is called pregnancy. Man is for woman, a means: the
purpose is always the child. But far from confining women to the realm
of the sexual, as Kerry Powell (1998: 78) suggested, let alone the domestic,
Shaw (1946a: 19) criticizes men and their habit of belittling the act of
creation, the terrible moment of birth its supreme importance and its
superhuman effort and peril soon after the danger is over. What takes
place after the birth is that the father takes his revenge, swaggering as the
breadwinner, and speaking of Womans sphere with condescension as
if the kitchen and the nursery were less important than the office in the
city (Ibid). And while Nietzsche would not even allow a woman to enter
the kitchen8, Shaw expresses his philogynous attitude that because of
Womans natural position in the matter of giving birth, Man is no longer
victor in the duel of sex (14).
To sum up, throughout his long career Bernard Shaw had been a
vigorous defender of equal rights for both genders and an ardent supporter
of womens liberation from their traditional roles as wives and mothers.
The myriad female characters from his plays, from Vivie Warren and Eliza
Doolittle to Ann Whitefield and Saint Joan, exhibit an atypical pattern of
behavior, usually reserved for men. This should not be regarded as a caricature
The very need for the Superman is, in its essence, political (Shaw 1946a: 226).
In Beyond Good and Evil, Nietzsche (2006: 163-164) writes:
Stupidity in the kitchen; woman as cook; the terrible thoughtlessness with which the
feeding of the family and the master of the house is managed! Woman does not understand
what food means, and she insists on being cook! If woman had been a thinking creature,
she should certainly, as cook for thousands of years, have discovered the most important
physiological facts, and should likewise have got possession of the healing art! Through
bad female cooks through the entire lack of reason in the kitchen the development of
mankind has been longest retarded and most interfered with: even to-day matters are very
little better.
7
8
89
Biljana R. Vlakovi
of the New Woman, but rather as Shaws attempt to make people see things
from a different angle, that is, the opposite angle. It can be argued, however,
that Shavian feminism represents only the propagation of his socialist ideas,
but even this view cannot dispute the fact that much of Shaw is not only
still fresh but can be seen in the banners and goals of contemporary feminist
movement, as Rodelle Weintraub (cited in Banerjee 2006: 45) claims in her
exhaustive account of Shaws feminism, Fabian Feminist: Shaw and Woman.
The one conclusion that is beyond doubt is that Shaws ideas were far ahead
of his time, and that in the literature of the second half of the 20th century
one can find these ideas developed and the same problems criticized, mainly
through satire of the contemporary treatment of women and their way of
life, imposed on them by patriarchal societies.
REFERENCES
Banerjee 2006: S. K. Banerjee, Shaw: The New Woman as Vital Genius,Feminism in Modern
English Drama 1892-1914, New Delhi: Atlantic Publishers and Distributors, 41-84.
Bax 1908: Bax, Ernest Belfort. The Legal Subjection of Men. Wikisource. <http://
en.wikisource.org/wiki/The_Legal_Subjection_of_Men>. 05. 05. 2014.
Cornell 1992: D. Cornell,Gender,Sex, andEquivalent Rights, in:
Feminists Theorize the Political, Judith Butler and Joan W. Scott (Eds.), New York:
Routledge, 280-95.
Curtis 2002: Curtis, Adam. The Century of the Self. You Tube.
http://topdocumentaryfilms.com/the-century-of-the-self/. 28. 4. 2014.
De Leon 1912: De Leon, Daniel. Divorce. The Daily People (Dec. 3, 1912). <http://
www.marxists.org/archive/deleon/works/1912/121203.htm>. 25. 4. 2014.
Dietrich 1986: R. Dietrich, Deconstruction as Devils Advocacy: A Shavian
Alternative, Modern Drama (Vol. 29), Toronto: University of Toronto, 431451.
Eagleton 1986: T. Eagleton, William Shakespeare, Oxford: Blackwell Publishers.
Friedman 2014: Friedman, Michael. Prostitution and the Feminist Appropriation of
Measure For Measure on the Stage. Interactive Shakespeare Project.
<http://college.holycross.edu/projects/isp/measure/essays/1_2_prostitution.html>.
3. 5. 2014.
Holroyd 1998: M. Holroyd, Bernard Shaw, London: Vintage.
Mill 1999: Mill, John Stuart. The Subjection of Women. Constitution Society. <http://
www.constitution.org/jsm/women.htm>. 28. 4. 2014.
Nietzsche 1911: F. Nietzsche, Thus Spake Zarathustra (2nd Ed.),
Edinburgh: The Darien Press.
Nietzsche 2006: F. Nietzsche, Beyond Good and Evil, New York: The Modern Library.
Peters 1998: S. Peters, Shaws life: a feminist in spite of himself, in: The Cambridge
Companion to George Bernard Shaw, Christopher Innes (Ed.), New York: Cambridge
University Press, 3-24.
Powell 1998: K. Powell, New Women, new plays, and Shaw in the 1890s, in: The
Cambridge Companion to George Bernard Shaw, Christopher Innes (Ed.), New York:
Cambridge University Press, 76-100.
Schopenhauer 1970: A. Schopenhauer, Essays and Aphorisms, London: Penguin Books.
Shakespeare 2002: W. Shakespeare, The Complete Works of Shakespeare, New Lanark:
Geddes & Grosset.
Shaw 1884: G. B. Shaw, The Fabian Society, Fabian Tracts No. 2, A Manifesto, London:
Geo. Standring, 8&9, Finsbury Street, E.G.
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Shaw 1915: G. B. Shaw, The Quintessence of Ibsenism, New York: Brentanos.

Shaw 1920: G. B. Shaw, Getting Married, New York: Brentanos.
Shaw 1946a: G. B. Shaw, Man and Superman, Harmondsworth: Penguin Books Ltd.
Shaw 1946b: G. B. Shaw, Plays Unpleasant: Widowers Houses, The Philanderer, Mrs.
Warrens Profession, Harmondsworth: Penguin Books Ltd.
Shaw 1952: G. B. Shaw, Saint Joan, A Chronicle play in Six Scenes and an Epilogue,
Harmondsworth: Penguin Books.
Shaw 1960: G. B. Shaw, Major Barbara, Harmondsworth: Penguin Books Ltd.
Shaw 1961: G. B. Shaw, Platform and Pulpit (Vol. I), New York: Hill and Wang.
Shaw 2005: G. B. Shaw, The Intelligent Womans Guide to Socialism and Capitalism (2nd
Ed.), New Jersey: Transaction Publishers.
Guardian 2009: A brief history of divorce, From Henry VIII to White v White. The
Guardian.
<http://www.guardian.co.uk/lifeandstyle/2009/sep/19/divorce-law-history>. 29. 4.
2014.
New York Times 1912: Divorce Plan Shocks Bishop; But Bernard Shaw Draws Moral
from British Reports Dont Marry. The New York Times.
<http://query.nytimes.com/mem/archive-free/pdf?res=9803E6D8133CE633A2575
0C1A9679D946396D6CF> 29. 4. 2014.
Trueman 2006: Trueman, Chris. The Reformation. History Learning Site. <http://
www.historylearningsite.co.uk/reformation.htm> 3. 5. 2014.
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Tamara Pileti / Rewiew to Vuk Krnjevic`s Anthology of narattors from Bosnia and
Hercegovina
Summary / Vuk Krnjevic`s anthology of narrator of Bosnia and Herzegovina contains
narrative works of important artists from Bosnia and Herzegovina, selected first by
aesthetic criteria, and the authorof this review identified some other common features mentioned Serbian authors indicate in which all gathered like, and what they
distinguishes and highlights their uniqueness. Recognized the outstanding selection
and value antologiarevog choice, because throwing light on a national literature,
which showed she had become widely accepted, timeless and universal
Key words: narattor, tales, Bosnia and Hercegovina
: 10. 2014.
2014.
106
/ , ,

811.111-14.09 . .
11.111-14.09 .
. 1

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1978: . . , , : .
Leavis 1974: F. R. Leavis, New Bearings in English Poetry, Penguin Books.
1994: . , , : .
Ana S. ivkovi / `A SENSE OF HISTORY` AND `LIVING TRADICION` IN ELIOT`S
WASTELAND AND HEANEY`S POETRY
Summary / Comparing the poem Wasteland by Thomas Eliot to the Irish Nobel-prize
winner Saemus Heaneys collection of poetry Bogland, the paper underscores the
similarities and differences aiming to prove that almost identical sense of history
is present in the poetry of both poets. Eliot views the sense of history as the ability
to recognize the same situations and patterns not only in the past, but in the present and future, bringing time into a whole, not chronological, but cyclic. Living
tradition is the tradition of stopping and continuing, basing the existence in the
past and surviving in the present. The research includes the incongruities of Eliots
theoretical considerations about tradition and practical realizations of those ideas
in poetry, and we conclude that, according to the poet, tradition is not everything
written since Homer until today, but only those works that possess the sense of
history. The important myths (mermaid myth, Holy Grail myth, Narcissus myth)
remind us that the 20th century man is not free from the primeval striving towards
the spiritual and physical healing, as well as the eternal craving to divulge ones own
being completely. Civilization and capitalist tradition have distanced contemporary
man from nature and sexual emotion, and directed him towards profit and material
production. Despite Eliots declaring as a royalist and follower of catholic tradition,
his poetry as well as Heaneys is predominated by the influence of humanistic tradition based on the conflict of different cultural concepts, on the archetypes of light
and darkness, heavens and the underworld.
Key words: history, tradition, archetype, myth, civilization
: 13. 2014.
2014.
114
/ , ,

821.111-31.09 .
. 1

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127
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. (2007: 716)
,
,
.
(
1990: 150),
.
:
2003: . Amis, Times Arrow or The Nature of the Offence, London: Vintage
Books.
2006: J. F. English, A Concise Companion to Contemporary British Fiction,
Oxford: Blackwell Publishing.
1990: . , : , , : .
2003: G. Keulks, Father and Son: Kingsley Amis, Martin Amis, and the British
Novel since 1950, Wisconsin: The University of Wisconsin Press.
2006: G. Keulks, Martin Amis Postmodernism and Beyond, New York: Palgrave
Macmillian.
2007: A. Luburi, Vremenska perspektiva u romanu Strela vremena Martina
Ejmisa, u: V. Gordi-Petkovi i D. Marinkovi (ured.), Godinjak Filozofskog fakulteta
u Novom Sadu, knjiga XXXII, Novi Sad: Filozofski fakultet, 707-717.
1972: S. Petrovi, Priroda kritike, Zagreb: Liber.
2005: N. Renninson, Contemporary British Novelists, London: Routledge.
2001: C. Rollyson, Notable British Novelists, California: Salem Press, Inc.
1996: L. Haion, Poetika postmodernizma: istorija, teorija, fikcija, Novi Sad:
Svetovi.
2007: W. Shakespeare, The Complete Works of William Shakespeare, Oxford:
Wordsworth editions limited.
, 2001: N. Schlager and J. Lauer, Contemporary Novelists, London: St.
James Press.
:
http://3.bp.blogspot.com/9siLqvxvooQ/T6XOm95UMSI/AAAAAAAAECk/LB34h_
IjH9g/s1600/timeline.jpg (24.12.2013.)
128
/ , ,
Milan Todorovi / FIDDLING AROUND WITH THEMES, MORAL AND TIME VIA
STRUCTURE IN THE NOVEL TIME'S ARROW BY MARTIN AMIS
Summary: In this paper we presented an overview of the structure in the novel Times
Arrow by Martin Amis. Namely, through the unique and quite peculiar structure of
the novel, the writer managed to fiddle with various themes, moral and time itself.
The world we studied should be observed via inversion, so as to fully comprehend the
meaning and impact of the novels structure. We began by describing the theoretical
and methodological framework of the paper, continued on to elaborating the regularities of Amis world, until at the end we focused on the relationship between the
narrator and the protagonist and their experiences, as well as the impressions they
leave on the reader. Given the fact that the narrator is convinced that the backwards
flow of time is proper, he, unlike the reader, does not possess the reference that time
goes by chronologically, which creates marvelous effects on both the narrator and the
reader. As a consequence, in this discrepancy between what we know and its representation in the novel, we witness Amis mastery as a writer who is simultaneously
able to conjure comic and tragic emotions within the reader.
Key words: Martin Amis, Times Arrow, structure, time, moral, novel
: 28. 2014.
2014.
129

821.163.41-31.09 .
-1

CITY CLUB
City Club, -
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(1997) .
1 pgstudio@t-com.me
131
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1994). , City Club
.
(1982),
(1992), (2001), (2003)
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. . .
(1988), (1990), (heaterroman - 1994), City
Club (1995), YU City (1997), (1997),
(2002), (2003), (2004), (2004)
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- ,
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, , , Lipar / Journal for Literature, Language, Art and Culture
137
, .
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:
2004: . , City Club, : .
:
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2009: . . , , : .
Sophia Kalezic Djurickovic / SATIRICAL SUBTEXT OF THE NOVEL BY GOJKO
CELEBIC THE CITY CLUB
Summary / In the work Satirical subtext of the novel by Gojko Celebic The City Club
Sophia Kalezic -Djurickovic writes about the elements of irony, satire and the grotesque in the novel of this famous Montenegrian writer. Celebi is the author of eight
collections of short stories and ten novels, including the particularly important role
in his creative development with the realization - Waves of the Atlantic, The killing of
A. G. V. and prosecution, Pseudo, The City Club and The Twins. The novel The City Club
in the writers work occupies a particularly important place in terms of modernity
procedure, skillfully modeled heroes and anti-war message. The City Club is the fun
club in the territory torn by civil war, but also an allegory of the entire former Yugoslavia marked by a wave of fratricidal carnage. The heroes are described in the world
of violence, drugs and sex, deprived of their basic values, the relationship between
East and West - are some of the themes of this book. In his novel The City Club can
be seen and the destruction of the mythical world, and his transformation of the end
of a great collective illusion.
Keywords: novel, postmodernism, satire, war, false, doom, indifference
: 3. 2014.
2014.
138
/ , ,

821.163.41-14.09 .
. 1

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2

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1 jelena.mladenovic.1417@gmail.com
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2000: D. Andri, Nekoliko uzgrednih napomena, u: D. Andri (Ur.), Stereo
stihovi: Antologija zlatnog doba rok-poezije, Beograd: Autorsko izdanje. 275291.
1993: B. Bo, Uvod u buduu estetiku rok muzike, Beograd: Trei program, 9699,
Beograd, 207218.
2004: N. Boilovi, Rok kultura. Ni: Studentski kulturni centar.
2005: N. Boilovi, Rok muzika i estetika runog, u: M. Zurovac i N.
Gubor (ured.), Poloaj lepog u estetici. Beograd Panevo: Estetiko drutvo Srbije
Mali Nemo, 157168.
2001: N. Vranjkovi, Zaovdeilizaponeti. Beograd: Autorsko izdanje.
2010: R. uri, Politika poezije: Tranzicija i pesniki eksperiment. Beograd:
Ain.
1987: S. Frit, Sociologija roka, Beograd: Istraivako-izdavaki centar SSO
Srbije i Centar za istraivaku, dokumentacionu i izdavaku delatnost PK SSO
Jugoslavije.
2009: R. Lazi, Zvezde su lepe, ali nemam kada da ih gledam: Antologija srpske
urbane poezije. Beograd: Samizdat B92.
2002: I. Semerad, Nikola vranjkovi o novom albumu i knjizi pesama
Zaovdeilizapoenti,
http://arhiva.glas-javnosti.rs/arhiva/2002/01/21/srpski/
K02012003.shtml 23. 10. 2012.
2012: R. Vilijams, Analiza kulture, u: J. orevi (ured.), Studije kulture,
Beograd: Slubeni glasnik, 124133.
Jelena Mladenovi / POETRY AND ROCK MUSIC THE POETRY OF ROCK:
ZAOVDEILIZAPONETI BY NIKOLA VRANJKOVIC
Summary / The subject of this paper is the study of rock poetry as a separate segment
of subcultural and anticultural phenomenon of rock. The relationship between rock
poetry and the official poetry opens an opportunity to review and cancel the relationship between the center and margins, and thus an opportunity to problematize
statements about the inferiority of the rock culture in the relation to the dominant
culture, which results in abolishing the distinction and fixed boundaries between
subculture and high culture. That will be presented through the analysis of Nikola
Vranjkovics poetry, published in a collection of poems Zaovdeilizaponeti. From the
standpoint of cultural materialism, we will find its indisputable connection to the
historical context in which it was written, as well as the connection with a political
interest. By emphasizing the social and ideological motives, we will show the main
features of the rock as a sociological and cultural phenomenon, but through a method
of textual analysis, with all validated traditional methods of analytical approach, we
will justifie its legitimate presence in the entire poetry. Evaluating it by the aesthetic
150
/ , ,
criteria, with highlighting the hermetic and the tendency to demythologize and
ironize, we will find that it does not belong to a separate area with specific rules of
art, and therefore we will draw attention to the need for hierarchy of popular taste.
Key words: Rock poetry, phenomenon of rock, center, margin, subculture, Nikola
Vranjkovic
: 20. 2014.
2014.
151

821.163.41-3.09 .
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interpretaciji postaje Oficir runog lica, ime se degradira lepi san i ivotne i borhesovske (ima li
donkihotskijeg poduhvata od Menarovog ponovnog pisanja Don Kihota?) nesvrhovitosti. Deak iz ove
prie, koji e izrasti u SS oficira, muve koje hvata u tegle vidi kao avione i time se intertekstualno nastavlja na motiv istine/iluzije vetrenjae. Ali, ovde je taj mit subjektivno preobraene stvarnosti, koja je
moda stvarnija, a svakako plemenitija, od one tzv. objektivne, pervertovan u suprotnom smeru: deak
e muve pretvoriti u avione skoro svesno; shvatio je, za razliku od Don Kihota, da nema nebeske pravde. A onda je od stvarnosti napravio igraku podatnu unitenju, igraku kojom se infantilni sadizam
zabavlja dok ne odraste u smrtno ozbiljno konstruisani nacizam. ( 2006)
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:
2006: Vladimir Nabokov, Eseji (Nikolaj Gogolj, Fjodor Dostojevski), Beograd:
NNK Internacional.
2008: Danilo Ki, Homo poeticus, Meunarodni centar za mir Sarajevo, Nova
Knjiga Podgorica, Naklada Zoro Zagreb.
1982: . , (
), : .
2004: Anri Bergson, O smehu, Novi Sad: Vega medi.
2006: Igor Perii, Kako vetar duva, Sarajevske sveske, br. 14.
Vladan Bajeta / THE NOVEL SCRUTINIZED THE PROSE OF VLADAN MATIJEVI
Summary / This work takes a look at the previous prose works by Vladan Matijevi.
An effort was made to abstract the poetic characteristics of some of Matijevis
works, as well as to indicate the development path of his oeuvre. A qualitative growth
has been observed in the first stage of Matijevis work, which culminates in his
most prominent work so far, the novel Pisac izdaleka. By quitting a distinctivelly
experimental poetics, Matijevi turned to more genre-profiled prose, i.e. to a more
traditional approach to the novelistic form. Apart from Matijevis novels, this work
also focuses on his short story collection Prilino mrtvi, and the discursive prose
collection Memoari, amnezije served as the writers autopoetic baedeker.
Key words: Van kontrole, R. C. Neminovno, Prilino mrtvi, Pisac izdaleka, asovi
radosti, Vrlo malo svetlosti.
: 23. 2014.
2014.
169

130.02
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...They werent only equal before God and the law. They were equal every which way. Nobody
was smarter than anybody else. Nobody was better looking than anybody else. Nobody was stronger
or quicker than anybody else. All this equality was due to the 211th, 212th i 213th Amendments to the
Constitution, and to the unceasing vigilance of agents of the United States Handicapper General.
175
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176
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and their faces were masked, so that noone, seeing a free and graceful gesture or a pretty face, would
feel like something the cat dragged in. George was toying with the vague notion that maybe dancers
shouldnt be handicapped. But he didnt get very far with it before another noice in his ear radio
scattered his thoughts.
5
Ladies and gentlemen- said the ballerina, reading the bulletin. She must have been
extraordinary beautiful, because the mask she wore was hideous...Her voice was a warm, luminous,
timeless melody. Excuse me, she said, and she began again, making her voice absolutely uncompetitive.
177
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I say at once! He stamped his foot and the studio shook.
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:
1961: K. Vonnegut Harrison Bergeron Cowley, Jason. The Observer, http://
www.theguardian.com/books/2002/nov/03/fiction.hanifkureishi 03.09.2013.
Kureji 2003: H. Kureji TELO, Beograd Oppolzer, Marcus. The Body, Kanif Kureishi
http://www.sbg.ac.at/alien/index.php?title=The_Body 31.08.2013
Reed, Peter. Kurt Vonneguts Fantastic Faces (reprinted from Volume 10, ssue
No. 1 of the Journal of the Fantastic in the Arts, copyright 1999 Florida Altantic
University, Boca Raton, Florida )
http://www.theguardian.com/books/2002/nov/03/fiction.hanifkureishi 31.08.2013.
182
/ , ,
Haravej 1991: D. Haravej Manifest za Kiborge (

, , 2012-2013. ,
-)
Milica M. Kari / QUESTION OF IDENTITY IN CURT VONNEGUTS HARRISON
BERGERON AND HANIF KUREISHIS THE BODY WITHIN DONNA HARAWAYS
POSTMODERN THEORY CYBORG MANIFESTO
Summary / Donna Haraways Cyborg Manifosto is one of the most influential texts
in the field of feminist theory, high-tech technology, and post-humanism theory. She
analyses the processes of technologiying contemporary culture and life paying special
attention to women and their relation to modern technology. Identities of human
beings and animals are being blended in the world of high-tech domination over
people as well as the identities of human beings and machines. The result is creation
of a new species which Donna Haraway called cyborgs. In this process boarders are
being deleted among these entities, too. The aim of this paper is to examine how
the question of identity is treated in Curt Vonneguts short story Harrison Bergeron
and Hanif Kureishis novella The Body analyzing Donna Harawayss text. We come
to the conclusion that in the world we are living in today, identities are constantly
being changed and combined among different entities. As a result of such activities,
we gt artificial equalities that reduce identities and create obedient human slaves.
Key words: Donna Haraway, cyborg, identity, boundaries, body
: 13. 2014.
2014.
183

821.111(73)-32.09 Poe . .
Stefan P. Pajovi1
University of Novi Sad
Faculty of Philosophy Novi Sad
ELEMENTS OF THE EARLY GOTHIC IN E. A. POES

THE FALL OF THE HOUSE OF USHER2
The aim of the paper is to examine Edgar Allan Poes short story The Fall of the House of Usher
against the legacy of the Early English Gothic and establish a connection between the two. Firstly,
an overview of the works of the Gothic genre in England is given, followed by a short timeline of
the works in the genre on the American continent with special regard to the work of E. A. Poe
and the short story upon which this paper focuses. Several pivotal points are used to establish
a correlation with Poes story and the works of the Early Gothic, such as the setting, family
relations, the treatment of madness, intensity of emotions, the role of prophecy, the structure
of the narrative, and the supernatural occurrences. The conclusion summarizes the influence
early Gothic works had on E. A. Poe and how his story had enriched the entire Gothic genre.
Key words: Gothic, Edgar Allan Poe, The Fall of the House of Usher
1. THE EARLY GOTHIC IN ENGLAND

The use of the word Gothic almost instantaneously evokes mental
images of grand cathedrals and archways, i.e. its primary reference are
buildings. This is not without a good reason for the term Gothic,
admittedly, originated in a confluence of history and architecture (Fisher
2007: 73). The most famous examples of a stone-to-word bond are the
houses of some the champions of the genre in England: Horace Walpoles
Strawberry Hill, and the now derelict Fonthill Abbey, once home to
William Beckford. Starting as a style in architecture, the Gothic, much
like its etymology, had soon undergone slight shifts in meaning, and near
the end of the 18th century was starting to take a literary form. The novel
that initiated a new tendency in literature of the day was published in
1764 by the above mentioned Horace Walpole and its title spoke much
of the emerging genre: The Castle of Otranto. The subsequent works of
Gothic literature pretty much followed the pattern set by Walpole: the
1 stefan@capsred.com
2
The paper was written as a part of the authors masters course The Gothic Genre in English
Lierature at the Faculty of Philosophy in Novi Sad in 2013, under the supervision of Ivana uriPaunovi PhD.
185
Stefan P. Pajovi
setting was usually a castle, an isolated one preferably (exotic lands were
in the vogue), full of mysteries, ghosts, unexplained events, and a heroine
unable to confront this darkness head on, rather running away from it. The
atmosphere of suspense was also introduced, strengthened with the felling
of fear and/or terror. Of course, the intricate plot had to maintain at least
a veer of plausibility, so Walpole provided the reader with an explanation
at the beginning which stated that the entire story was true: he had merely
translated a medieval Italian manuscript. This was adopted by other Gothic
writers who had strived, although not always in such a frank manner, to
give their stories, which were often steeped in the supernatural, an aura
of credibility, by tying them to a real person or an event, thus using history
as a pivot of sorts. This was also true for the next Gothic novel, written by
Ann Radcliffe, thirty years after The Castle of Otranto, in 1794. The title
was once more revealing of the impending intricacies: Mysteries of Udolpho.
The heroines family dark and mysterious secret hides itself in the past,
giving only a glimpse in epistolary form. This description was yet another
addition to the Gothic canon by Radcliffe. Other 18th century writers would
follow with inventions of their own. William Beckfords Vathek spiced the
increasingly popular genre with the element of the East, describing a Faustlike Caliph Vathek and his downfall from Islam to Hell. A decade after this
story, Matthew Gregory Lewis published The Monk, a Gothic novel about
excess, about excesses of passion concealed beneath veils of respectability
and propriety (Botting 1996: 50). Just two years after it, W. H. Ireland,
who had became infamous by forging Shakespeare, published his Gothic
novel The Abbess, considered to be the female version of The Monk.
The Gothic works did not cease as the 19th century rolled in: Charles
Maturin published a hefty novel Melmoth the Wanderer in 1820. Just two
years before that, Mary Shelleys Frankenstein saw the light of the day and
soon became one of the most iconic works, not only of the Gothic genre, but
arguably, of science fiction as well. Three years after the fatuous summer of
1816 that had spanned Frankenstein, Sir Walter Scott published a historical
novel, The Bride of Lammermoor, which is considered a milestone in British
literary Gothicism (Fisher 2007: 72).
2. AMERICAN GOTHIC: EDGAR ALLAN POE
American literature, which was much under the British influence,
dabbled as well with the Gothic at the turn of the 19th century. The scenery
was changed, but the fight between good and evil, shadow and light
perpetuated throughout the New World. The locus of a haunted castle was
supplanted by a more homely variant, e.g. the family mansion. The dark
past still hid untold mysteries and horror, but the American author gave the
terror a greater playground in terms of space: the unexplored territories,
namely the West. The eponymous protagonist of Young Goodman Brown,
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a short story written in 1854 by Nathaniel Hawthorne, ventures at night

(some things never change) into a forest leaving behind his wife Faith (an
indicative name, at the very least) only to arrive at an occult gathering whose
participant are the most distinguished town elders of his village Salem.
The plot serves as an excellent example of how Hawthorne successfully
combined the Gothic elements that had come across the pond, with those
offered by the unique setting of United States of America. Similar motifs,
although not as rooted in realism as Hawthornes, are present in the work
of Charles Brockden Brown, who is considered to be Americas first man of
letters, since he was born in Philadelphia, half a decade before the American
Revolutionary War began. He was also among the first uniquely American
writers of Gothic fiction, and published four novels of the genre. The first
one was the most successful, Wieland, and is at the same time considered
the first American Gothic novel. The plot involves, as it could have been
expected, a family curse dating back to pre-revolutionary times. Whether
rooted in a past event, like the Salem Witch trials, or concerning more
topical themes, as in Hawthornes The Scarlett Letter (1850), the American
gothic had always had an idiosyncratic view of the macabre, the champion
of which, with due respect to the mentioned authors, was Edgar Allan Poe.
2.1. THE FALL OF THE HOUSE OF USHER
The story was first published in September 1839 in Burtons
Gentlemans Magazine. It was slightly revised in 1840 for the collection
Tales of the Grotesque and Arabesque. Since then, it has been prominent
in nearly every collection of Poes short stories since it is one of Poes
greatest achievements (uri Paunovi 2007: 29).
The plot revolves around the visit of an unnamed narrator to his
childhood friend Roderick Usher. The latter had sent a letter to the narrator
stating that he suffered from an acute bodily illness (Poe 1961: 85) and
wanted to see the narrator. The story opens as the narrator approaches
the Usher mansion on horseback and provides us with a description of the
opulent dwelling, as well as the surrounding area, including a tarn with
ominous gases rising from it. The description of the Usher family and their
eponymous abode, which the local peasantry use interchangeably, is strewn
with indications of their impending faith, namely, a barely perceptible
fissure (Poe 1961: 88) that would play a significant role later in the story.
The narrator is led into the house by a servant and is greeted by the owner,
Roderick Usher. We soon discover that he suffers from a sensory overload
and that his sister, Madeline, is ill as well, suffering from catalepsy. The
revelation of both medical conditions early in the story serves the purpose
of building suspense as they will have the crucial role in the final scene. For
now, the narrator and his host enjoy all forms of art as we find more about
the Usher estate and their owners. This period is interrupted by the sudden
death of Madeline, and Roderick insists that she is kept in a vault inside
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the house for two weeks before her final burial. The men act accordingly,
but feel uneasy the following days. The pent-up suspense culminates on
a typical Gothic night: stormy, strewn with strange sounds and ominous
vapors. Fairly agitated by the circumstances, the narrator tries to read
to Roderick from an old chivalry novel whose actions of breaking a door
and the cry of a dragon coincide with the real simultaneous events and
sounds coming from within the house, including a loud shriek. Finally,
having admitted that he had known his sister was alive all the while,
dumbstruck Roderick, as well as the stunned narrator, are confronted with
the emaciated frame of Lady Madeline at the door. Her subsequent fall
onto her brother and their conjoined death are indicative of a greater fall
of their entire estate, literally. The house is halved along the line of the
mentioned fissure, as the narrator manages to flee from it and behold its
sinking into the tarn at his feet.
3. THE COMMON MOTIFS
3.1. THE SETTING

When we discuss the setting of Gothic stories, it should be pointed
out that the term is not of spatial, but temporal nature as well. Time and
space both interact to amplify the emotions of horror, leaving the reader to
reach the conclusion that all forces of Nature are corrupt. In Poes story,
the unnamed author rides on a dull, dark, and soundless day in the autumn
of the year (Poe 1961: 83). It is the very first sentence that introduces the
atmosphere of a horror story, further amplified by the time the story takes
place. The season is the one before winter, foreshadowing the iciness of
the events to come, and the time of the day is dusk, the last glimmer of
light after which darkness ensues. The darkness motif is integral to the
genre and can be found in all of the works of the early English Gothic. The
season in question, autumn, also appears in some works, and in a similar
context: In The Mysteries of Udolpho, Emily St. Aubert, the heroine, sees
the Castle of Udolpho for the first time on an autumnal day. The onset of
chapter V of Mary Shelleys Frankenstein introduces a similar setting: It
was on a dreary night of November that I beheld the accomplishment of
my toils. The creature (or in popular culture: the Monster) breathes his
first breath of air on a November night. Much like the Usher family, the
Frankensteins begin to decline, namely lose family members, not long after
a horror breeding night, much like the one on which the narrator arrives at
the Usher mansion. The motif of night and the events that transpire from
dusk till dawn3 is common to all works of the Gothic, Manfred conducted
3
A 1996 motion picture From Dusk Till Dawn starring George Clooney and Quentin Tarantino
is one of the best examples of contemporary use of this Gothic motif.
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his initial pursuing of fair Isabella at night and the gigantic vision of Alonso
appeared while the moon was at its height. Vathek performs the bulk of his
blasphemous rituals under the cover of night, while the opening couplet of
The Monk defines it as the perfect chronos for the Gothic-like occurrences
to transpire:
Somnia, terrores magicos, miracula, sagas,
Nocturnos lemures, portentaque.
Horat.
Dreams, magic terrors, spells of mighty power,
Witches, and ghosts who rove at midnight hour.
(The Monk: a Romance)
Moving to the spatial dimension, the most common locus of the

early Gothic genre was the castle. Poe, however, facilitated his plot in a
mansion and more importantly, in a family home, which was in accordance
with the homely gothic which was predominant in the States (Botting
1996: 74). The safety of a family home was a common motif in the English
Gothic as well, but it had served a completely different purpose. Instead of
facilitating the gruesome plot, it served as a touchstone of normality, i.e.
it portrayed all those values to which the felling of horror was set against.
In effect, the more ordinary and normal the family was, the more terrifying
were its hidden secrets and the subsequent demise. Southern Gothic, with
William Faulkner as its champion, stemmed from this tradition started by
Poe. Most novels start with the state of affairs which can be described as
normal: Manfred, the ruling monarch, is about to attend the wedding of
his son; Vatheks subjects were induced to expect that his reign would
be long and happy and Mysteries of Udolpho even opens with a strophe of
James Thomson4 about the idyll of a family home. To Poe, it was clear that
one neednt be taken to the gothic magnificence of Udolpho, its proud
irregularity, its lofty towers and battlements, its high-arched casements,
and its slender watch-towers, perched upon the corners of turrets (The
Mysteries of Udolpho, Chapter VI), when all such things resided in the very
household most heroes and heroines originated from. This is why the need
for a Gothic castle was obviated in The Fall of the House of Usher, for the
ancestral dwelling of Roderick and Madeline sufficed as the their eternal
resting ground.
In most editions of the story, the fall of Madeline and the fall of the
edifice are separated by no more than a single page. As Poes biographer
Arthur Hobson Quinn points out, this condensed procession of the
madness of Roderick, the flight of the visitor, and the rending of the house
into ruin are portrayed with that economy of which Poe alone among
writers of the short story was at that time possessed (Quinn 1997: 285).
4
He was an 18th century Scottish poet and critic who is most famous for writing the original
lyrics for the patriotic song Rule, Britannia.
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Poes literary talent is essential if we are to compare the fall motif to

others in the genre. Matthew Louis writes of Ambrosios death in Hell which
commenced with a literal fall, thus reflecting the moral one that announced
the latter. The only thing where the symbolic and real falls differ in Poe
and Lewis, is the length. The Usher residence collapses instantaneously,
as quick as their masters expire, whereas The Villain, i.e. the Monk of the
story, suffers for seven agonizing days before he is ultimately swept by a
torrent. The discrepancy originates not only in the length of the respective
narratives, but in the number of sins each protagonist had committed
during his lifetime. It ought to be noted that Matthew Gregory Lewis did
exaggerate quite a bit while depicting Ambrosios final torments, but this
is a defect of the entire genre, as the overflow of emotions renders some
scenes ridicules, i.e. Beckfords Vathek kicking his dead guards till evening
without intermission.
3.2. DOPPELGANGER AND FAMILY RELATIONS
First siblings of the genre were Matilda and Conrad in Castle of Otranto, and although they are blue-blooded, the uneasiness of their relationship of which Walpole gave only inklings, became fully transparent in the
characters of Roderick and his sister Catherine. A strong bond, sometimes
referred to as the sixth sense, between siblings gets amplified as Poes
characters share such similar features, both physical and mental, that the
reader gets the impression that they are one entity. Not even the implied
supernatural traits of Madelines character can jeopardize the relationship exceeding even the carnal bond and culminating in their shared death
as they fall on the floor conjoined. It is not only the narrator that races
away from the gruesome scene, but the mind of the reader as well. As the
house follows the fate of its owners by collapsing into the tarn, the writers
craftsmanship of leading the reader to wonder whether this landscape is
indeed really external or rather a projection of a particular psychological
state (Punter 2004: 156) becomes evident. The brother-sister bond brings
that Gothic landscape into the family home, and makes it in effect a playground of the most unnatural disease and occurrences that ultimately lead
to the fall of the remnants of a great dynasty of Ushers. In other words:
the patrimony at issue in Usher is really disease itself (Dougherty
2001: 10). Fisher points out another anthropomorphic trait of the story:
Not accidentally does Poe give us a tale of disintegrating bodies, but, more
important, disintegrating psyches as well, which he frames with a mansion
that looks like a human head (2007: 89)
Not only is the friend of Usher, whose account of the events we are
given, a representative of humanity, but the entire story, from the inside as
well as the outside, resembles a human head, or more precisely the mind
it encapsulates. This geography of imagination(Ibid.), established early
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on in the story, encompasses the Usher twins in such a manner that they
imbibe all humanity, including the narrator, the audience, and even the
author himself, whose real life portrait is strikingly similar to the one he
gives to his protagonist in the story. The landscape outside the house is
indicative as well, for the entire structure is encompassed by a tarn, which
not only resembles a moat surrounding a medieval castle (further evoking
Gothicism), but acts as a mirror in which the reflection of the mansion is
perceptible. This duplicated image of the house is in perfect accord with
the relationship among the siblings that occupy it.
A family whose zenith is long gone is by no means a solitary example
in the genre, but rather a continuation of the earlier traditions. The entire
plot of Walpoles novel revolves around a royal family whose legitimacy
is brought into question and its members share the moral decline of its
patriarch, namely, both of his children lose their lives. Mysteries of Udolpho
presents us with a family whose fortunes in decline and such circumstances
lay ground for Emilys leaving of the family home and her subsequent
adventure. By tracing the problem down the blood line into the misty past,
Gothic authors lay the scene for the posteritys calamities.
3.3. A FISSURE IN THE WALL
The Gothic genre in its entirety has a strong vein of symbolism and
Poes story is no exception, as the fissure in the house is shared by the
psyche of its inhabitants as well. During his description of the house, the
narrator tries to mitigate the extent of the crack in the wall:
the eye of a scrutinizing observer might have discovered a barely perceptible fissure, which, extending from the roof of the building in front, made
its way down the wall in a zigzag direction, until it became lost in the sullen
waters of the tarn (Poe 1961: 88).
This is the final detail in the description of the entire structure

before the narrator is led into the house. It is intentionally given in the
form of a minor observation as it serves little purpose at the onset of the
story, merely foreshadowing the tragic events that will ensue. Over time,
the fissure grows larger, imperceptible to the reader as the action takes
place inside the house. The final split is more than the physical destruction
of the Usher abode, the family goes down with it as well. This is a clear
indicator that the fissure is a symbol of the state of mind of Roderick,
and Madeline as well, although she does not speak we can make a fairly
accurate guess based on her closeness to her brother. This overlapping of
worlds is characteristic to Poes fiction in which it is often difficult to tell
where the narrators internal world stops and the external world begins:
landscape exists to reflect back the obsessions and preoccupations of the
speaker and contains no external reference points, the placeless House of
Usher being the most obvious example (Spooner 2006: 54).
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Even the first work of the genre, The Castle of Otranto, had an overt
symbol of the split of the mind the Gothic genre introduces, but to a much
larger scale. Interestingly, the very first scene does not only introduce an
element of the supernatural, but a fall (of a gigantic helmet) as well, similarly
to the fall that ends Poes story. Later in the novel, as Manfred is struck by
news of his daughters death, the castle wall behind him crumbles to reveal
the gigantic image of Alonso, the structures rightful owner. After this
crumbling of stone, Manfred, who was once determined to prove a villain
much like Shakespeares Richard III (Shakespeare 1999: 98), finalizes his
repentance initiated by Matildas death. As castles and houses collapse so
does the pent-up horror reach its peak as the protagonists either come to
terms with their offences against nature or proceed stubbornly to their
demise, much like Vathek does. Roderick Usher is certainly not the villain
in Poes story, but the reader cannot escape the feeling that he willingly
gives his sensual race the rein (Shakespeare 1999: 798) precipitating,
rather than thwarting, the tragic series of events that lead to the ultimate
termination of his bloodline.
Professor Fisher observes a similar relation in another work of the
Gothic canon: Mary Shelleys Frankenstein, for example, drew repeatedly
on landscapes to throw into high relief the emotional explosions that occur
throughout the novel (Fisher 2007: 75). He continues by expanding this
claim to American authors, [who] understandably, had no castles, abbeys,
or cloisters in the near proximity that European authors had, and thus the
American Gothic tended to foreground other varieties of tangibles (Ibid.).
3.4. OVERWROUGHT EMOTIONS
In Castle of Otranto Matilda has a long conversation with Isabella and
her mother which makes the modern day reader skip the entire exchange
of words as emotions are abundant, and it is highly unlikely that any person
could harbor such potent feelings. Furthermore, near the end of the novel
Matilda gets stabbed by her own father in a case of mistaken identity. Her
suffering, however, does not end there as she makes several comebacks
during which she scolds Theodore for defending her against her assailant,
gets proposed by the same young man and converses with her mother. She
finally expires after several pages much to the relief of the present-day
reader who finds the scene pathetic. Despite contemporary readings, this
outpour of overwrought emotions became characteristic of the entire genre
during the 18th century when its works were in the vogue. The theme was
common to many works of the genre, and Poes story was no exception.
Although the heroine of the The Fall of the House of Usher, Madeline,
has a quicker death and less voluble (she simply falls without a word onto
her terrified brother) the entire story is charged with emotions.
Starting with Roderick himself, the whole of the Usher, family suffers
from a morbid acuteness of the senses which renders them eligible for
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the disaster. Poes uses his literary craftsmanship not to make a parody of
intensified emotion like Walpole, but rather in the purpose of terrifying
the reader as it is precisely Rodericks condition that allows us to hear the
sounds from within the mansion.
Rodericks excess of emotions is perhaps best shown through his acute
senses which seemingly lead him into madness. As the unnamed narrator
of another of Poes stories, The Telltale Heart, endeavors from the very
first paragraph to absolve himself from an ailment which is same as Rodericks, he tacitly asserts the fatal bond between his condition and madness:
Nervous - very nervous, dreadfully nervous I had been and am. But
why will you say that I am mad? The disease had sharpened my senses
I heard all things in the heaven and in the earth. I heard many things in
hell. How then am I mad? (Poe 1961: 17)
This description of the state of mind strikingly similar to the one

of the proprietor of the Usher residence indicates that there exists an
imbalance, and that the overwrought emotions are a manifestation of it.
An outpour of overwhelming emotions has an interesting implication
in the form of raison, i.e. the deficiency of it. This side effect of the genre
had made it susceptible to harsh criticism by the advocates of the rationale,
and even by Poe himself, who had apparently endeavored to break away
from such a practice. While asserting Whitmans en masse ideal in the field
of literature, he mentions5 Maturins novel:
I should no doubt be tempted to think of the devil in Melmoth, who labors
indefatigably through three octavo volumes, to accomplish the destruction
of one or two souls, while any common devil would have demolished one or
two thousand (Poe 1996: 7).
However, it should be stated that Poe does in some instances relate

directly to the authors of the Gothic genre, like in his short story The
Oval Portrait in which he economizes on narration, referring to Mrs.
Radcliffes work, thus suggesting to the reader to simply transfer the
overall Gothic spirit into his story (uri Paunovi 2007: 26).
3.5. AN ANTIQUE VOLUME
Almost all Gothic works use some ancient text as corroboration for
their chilling story, as well as a plot device to fuel the action in the story, or
as Dr Aldrich puts it:
5
Poe seldom wrote about the works of the English Gothic. In Essays and Reviews there are only
several references to Maturin and Walpole, while he makes no reference whatsoever to Ann Radcliffe,
William Beckford, Matthew Lewis or Mary Shelley. Even so, from the narrow context we are given, it
can be safely argued that Poe was at the very least acquainted with the literary output of the listed
European authors.
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A setting deep in the mists of time was an essential ingredient of the

Gothic novel, which arose from the fertile imagination of Horace Walpole
in the 1760s as a genre distinct from the rational, moralizing tone of much
eighteen-century literature (Aldrich 1997: 19).
Walpole instigated this tradition by writing a preface to the first

edition of The Castle of Otranto. In it, he presents himself merely as the
translator and traces the text to an ancient Catholic family in the north
of England where it was discovered. The story as well has a background:
printed in 16th century Naples, it was written between the 11th and the
13th century. He goes on to delineate the authors intention in writing the
text and the mechanism of creating the story. In the preface to the second
edition Walpole disclosed the identity of the real author of the novel: 4th
Earl of Orford, i. e. he himself.
Near the end of the preface Walpole provides us with a teaser of
sorts, asserting verisimilitude to his story:
I cannot but believe that the groundwork of the story is founded
on truth. The scene is undoubtedly laid in some real castle. The author seems frequently, without design, to describe particular parts.
(Castle of Otranto, preface to the first edition)
He mischievously suggested that the architecture was so vividly

described in the novel (Aldrich 1997: 67) that the structure he was
referring to was unambiguously his beloved Strawberry Hill. In an endeavor
to provide his novel with credibility he leaves open the possibility that the
story could in fact be a true account, rendering it much more plausible that
it were without the alleged translators preface. This nearly apologetic tone
of the introduction serves the purpose of justifying such a work of literary
art in the times when convention was obligatory in literature.
The Fall of the House of Usher uses books literally as the
background for the plot as Roderick and the visitor are surrounded with
piles of books on the shelves in the study where the major part of the story
takes place, or more precisely, the torpid section of the story, between the
storm and the grizzly deaths. The ancient texts of Rodericks library are
everything but inert, they come alive through reading, especially when the
narrator takes up the antique volume entitled Mad Trist of Sir Launcelot
Canning (Poe 1961: 106). A pseudo-romance created by Poe comes to
life as the events described in the book, a knight breaking down the door
of a hermits dwelling, coincide with Lady Madelines advance from her
seemingly impenetrable tomb to the doorstep of her brothers quarters.
This ancient text, as well as the others mentioned in the story, serve
a far wider purpose than the apologetic-like one did in the works of the
early English Gothic. The romance in question, Mad Trist, does not give
credibility to the story, quite the opposite, it mocks the entire genre that
adheres to strict rules and brings it before the reality which is far more
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sinister than the chivalry it lauds on its pages. The two juxtapose each
other as Poe demonstrates the power of literature and reading on real life.
Mysteries and prophesies that ancient books contain are a pervasive
motif throughout the entire genre. Vathek get tempted by the devil after
reading the lettering on the swords he had bought from Giaour. This
inconstant prophecy cast in iron is what propels Vathek on his road to
Hell, incited by his mother, Carathis. The Monk has an advertisement
interposed between the preface and the body of the text in which Lewis list
his sources, like the story of the Bleeding Nun, but deals at the same time
outwardly with the issue of intertextuality:
I have now made a full avowal of all the plagiarisms of which I am aware myself; but I
doubt not, many more may be found, of which I am at present totally unconscious.
(The Monk, Advertisement)
Mary Shelley does not deals with literary texts as outwardly as Lewis,
but her Frankensteins creature does read Miltons Paradise Lost, Plutarchs
Lives and Goethes The Sorrows of Young Werther. Not only does Shelley
equip him with literary classics, much like Poe does Roderick, but they
evoke in him, a newborn to this world, feelings strikingly similar to the one
a Gothic novel evoked in the reader of the day:
I can hardly describe to you the effect of these books. They produced
in me an infinity of new images and feelings, that sometimes raised
me to ecstasy, but more frequently sunk me into the lowest dejection.
(Frankenstein, Chapter XV)
3.6. A TALE WITHIN

Another interesting motif that Poes story has in common with most
of the works of the genre are the layers of storytelling, i.e. the existence
of more than one narrative. The palimpsest of The Fall of the House of
Usher is not very complex, comprising of the original story by the unnamed
narrator and his reading of the romance. The champion of this hanging
narration in the Gothic genre is by far Maturins Melmoth the Wanderer
with no less than six different stories neatly tucked one into other like a
matryoshka doll. Shelleys Frankenstein is basically an epistolary novel in
which the story of Victor Frankenstein and his creation is told through
the letters of Captain Robert Walton to his sister. The story everyone is
familiar with is actually rounded with Waltons narrative which is a much
more plausible one: a fervent young man in a quest for glory on the North
Pole, a character the 19th century audience could easily relate to.
Poetry is very often contained within a Gothic novel as well. The Fall
of the House of Usher is no exception as it contains The Haunted Palace,
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a poem that Poe had published in April 1839,6 and which was incorporated
into the story five months later. As a Poe scholar, Scott Peeples observes,
the poem is positioned appropriately in the middle to function as a mise
en abyme, a miniature of the story that contains it (Peeples 2007: 179). In
addition to this role, it has the function of building suspense before the
final scene.
The preface to The Castle of Otranto is followed by a sonnet which itself
precedes and announces the first sentence of the novel which introduces
the readers to Manfred. Trivial as Poes at first glance, the lyric introduces
the atmosphere typical of Romanticisms so as to not only introduce the
idyllic onset of the story (a joyous wedding ceremony is to take place) but
to pave the way to subsequent horrors which are only amplified by this
image. With the help of poetry, Gothic authors create upturned fairytales:
their stories set off with a happy ending, and finish with a terrifying
misbalance in nature.
Precisely along these lines, of Walpoles and Poes use, do the rest
of poetic works presented in Gothic novels function. Beckford starts every
chapter of his Monk with a line of two, mostly from Shakespeare. These
lyrical introductions serve the purpose of recapitulating the story of the
specific chapter, thus effectively supplanting the chapter title and assuming
its role. In addition, there are numerous poems within the narrative, as
well as the rhyming couplet in Latin, following the title which serves the
role of giving credibility to the text.
When it comes to the dialogue between prose and poetry, Ann
Radcliffe definitely imbibes the latter to the greatest extent. She outwardly
states that her novel The Mysteries of Udolpho is A Romance, Interspersed
with Some Pieces of Poetry. By observing her use of poetry, one could
conclude that Beckford copied it word-for-word, for she also starts the
entire novel, as well as its pertaining chapters, with a strophe of some sort.
As the genre evolved the need for poetry dwindled, but it had not
completely perished and it still stands present as a token of the equilibrium
of life that the Gothic perpetually assaults. Botting rightly observes that
for two of the most prominent Gothic scholars, Devendra Varma and
Montague Summers:
The appeal of Gothic writing lay in its opposition to realism and rationalism,
in its quest for a realm beyond the empirical and material world, for a realm
of the mysterious, mystical and holy (Botting 1996: 12).
6
It was published in a short-lived magazine, American Museum of Science, Literature and the
Arts, owned by Poes acquaintances Nathan C. Brooks, and J. D. Snodgrass. His short story Ligeia was
published in it the same magazine the previous year (Poes writing in the American Museum).
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3.7. THE SUPERNATURAL

The very first work of the genre started introducing supernatural
elements in the story plot. Oversized human parts and armor, like the
giant helmet that killed young prince Conrad, were an overt sign from the
Heaven that something was rotten in the state of Denmark (Shakespeare
1999: 677), i.e. the principality of Otranto. Although it lacks overt signs
of the supernatural, like the skeleton monk in Lewiss novel, The Fall of
the House of Usher is abundant with strange sounds coming from within
the residence that the two friends hear from time to time, and the final
destruction is seemingly uncorroborated by science. These events that the
characters have no explanation for, serve as testimony to the imbalance in
Nature, and are a sign and guidance to things that need to be done to restore
order. Shakespeare had his denigrators and the chorus to convey this truth,
but in Gothic literature, the function of the supernatural is mainly to turn
the readers attention to the fact that something is not quite right with the
world they live in and that the subsequent gruesome outcome is the direct
result of the ill-doings that had taken place. Poes supernatural in the story
in question is as outright as in any other work of the Gothic, as he is being
mysterious about the mysterious. Namely, the character of Madeline is
not outwardly dubbed as alive of dead, but rather the reader is presented
with the task of discovering the chilling reality on his own. Throughout the
story her appearance is shrouded under a veil of secrecy, and it is the use of
occultatio that horrifies the reader the most. Every single adjective that the
writer uses to explain how Rodericks sister was secured in her final resting
place brings the audience one step closer to the realization that no mortal
entity could free itself from such bondage. Still, largely owing to Poes
exquisite literary talent, an explanation in the form of a family malady
persist until the very last page and there is no blatant confirmation that
Lady Madeline is a specter. This circumnavigation of the supernatural is
not uncommon in the American Gothic, Hawthorne uses it as well in his
work, including the already mentioned story Young Goodman Brown in
which all references to witchery are dreamlike. The early English Gothic was
shy, in a sense, of its supernatural elements, best evident from Walpoles
preface which he wrote in order to make the boundary between reality and
fiction as fuzzy as possible so he could introduce strange sounds, secret
passages and a licentious villain.
The subsequent novels continue in this vain: Vatheks crimes are
apparent and there is even an unambiguous description of Hell, but the
entire plot takes place in a caliphate far away from England and the reader
is lulled into an Arabian nights setting, thus dulling his sense not only of
reality, but moral values as well. Beckford, unlike other authors of the
genre, clearly states what is real and what is not, but trivializes the issue by
placing his story in an exotic faraway realm.
197
Stefan P. Pajovi
Since the supernatural is an essential ingredient of the Gothic

atmosphere it is featured in the bulk of the Gothic novels. However, some
English authors led my Mary Shelley, managed to achieve the effect of
terror and horror without them. In Frankenstein, she had not only given
the macabre a human form, but managed to do so with apparent regard
to the laws of science, which many of her predecessors in the genre had
blithely disregarded. In this sense, she was a trailblazer of a new kind of
Gothic, the one that would arguably grow into another genre to itself,
namely science fiction.
4. CONCLUSION
It is without a doubt that Poe had a fairly unique literary style in the
19th century literary scene. A prominent Serbian female writer and critic,
Isidora Sekuli, points out this vein of singularity of his work in her essay
One of the writers of the chasm, Edgar Allan Poe:
Edgar Allan had not lived long and did not write much. But what he had
written, in verse as well as in prose, that uniquely spiritually gifted man, is
to such an extent autochthonous, and personal, brimming with a singular
spirit and full of certain intersecrets, that his life work stands utterly alone
(Sekuli 2002: 329).
However, as John Donne wrote, no man is an island and neither was

the famous Bostonian. He had much in common with the earlier English
works of the Gothic genre which he was a champion of, and his short story
The Fall of the House of Usher is justly the most famous of all Poes Gothic
horrors (Dougherty 2001: 6). Before his emergence as a prominent writer
of the macabre, the Old World already had a well-established tradition in
the genre, dating back to mid 18th century and Walpoles Castle of Otranto.
Since the feelings that Gothic images evoke are innate to all humanity, it is
no accident that Poes work has much in common with the antecedents in
the genre. Chosen for its quintessential portrayal of Poes fiction, the story
The Fall of the House of Usher shares numerous themes and symbols
with its English predecessors as its multiple layers of meaning spring
from the gothic trappings of the plot and the mysterious relationship of
the brother and sister characters (Sova 2007: 68). Although some of the
main features of a horror story are missing, namely the villain chasing a
maiden and an ancient castle setting, the horror is no less resonant as the
genre takes on a more homely form, outlined by Poes quill.
Overwrought emotions, a classical Gothic element, become one with
the setting (the mansion and its surrounding tarn) as the mental ailments
of the protagonists become far too acute for them to bear, terminating
their physical existence as well. All this takes place before the eyes of the
narrator, who much like Wellss Time Traveler, represent an incarnation
198
/ , ,
of the reader inside the narrative. By making the event in the story tightly
connected to the reader, Poe obviates the need for explicit images of horror
and terror, like Ambrosios downfall strewn with mortal sins, or Vatheks
monstrous act of sacrificing fifty young men from his caliphate.
The Fall of the House of Usher presents the readership with a
unique combination of Poes literary talent and traits of the Gothic genre
which had come into existence with Walpoles novel. The audiences across
centuries are lured to it because:
The tale offers an anxiety-ridden narrator-protagonist, a haunted mansion
tenanted by haunted siblings who eventually come to haunt the storyteller
a mysterious doctor, whose intents seem to be nefarious, plus a veritable
gallery of Gothic properties: bewildering corridors, eerie chambers, a terrifying poem that descends from the interspersed songs in many Gothic
novels a picture that is animated in its inanimation, a large serving out of
supernaturalism or seeming supernaturalism, mystifying illness of a perishing
frail one, distorted thought and sense perceptions that disturb Usher and the
narrator, live burial and the horrifying return of the interred, the deaths of
both Usher siblings, collapse of the mansion, and the lasting effects of these
horrors upon the narrator (Fisher 2007: 89),
Having listed all the Gothic-like features of Poes story, Fisher

concludes that all these, and much more, are dramatized with model
concision (Ibid.). Ultimately paying homage to the author seems logical,
as Edgar Allan Poe had not only revived the early Gothic, but infused it
with his own idiosyncrasy. Therefore all subsequent works of the genre,
starting with Charlotte Bronts Jane Eyre (1847), related to a tradition of
which Poe was an integral part. As the Gothic genre faces new challenges
at the dawn of the 21st century, one thing is certain, it has much to thank
Poe as it has to thank the English works that preceded his stories.
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Hopkins University Press.
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Usher, The Cambridge Companion to Edgar Allan Poe, Ed. Kevin Hayes, Cambridge:
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E. A. Poe Society of Baltimore. Poes writing in the American Museum. <http://www.
eapoe.org/works/editions/MAMB001C.htm>. 1 May 2013.
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life and work, New York: Facts On File.
Spooner 2006: C, Spooner, Contemporary Gothic, London: Reaktion Book.
. /

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:
, 2009: . A, Rhetorike Techne, : .
, 2007: . , Antika filozofija, : Plato.
, 1996: J.M. Bryant, Moral Codes and Social Structure in Ancient Greece:
A Sociology of Greek Ethics from Homer to the Epicureans and Stoics, Albany: State
University of New York Press.
, 1990: .P. Dimon. Antika filozofija, S. Karlovci, Novi Sad: Izdavka
knjiarnica Zorana Stojanovia.
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Zavodzaizdavanjeudbenika.
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, 1989: J. Ober, Mass and elite in democratic Athens: rhetoric, ideology, and the
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, 1983: . , . : .
, 1985: , , : .
Branka Lazar-Mladenovi / THE GREATEST 'SOPHIST' IS THE INHERENT ENEMY
OF SOPHISTS
Abstract: Searching for the reasons of sophists enmity towards Socrates, we found
out that this kind of relation was the only possible relation between them. In other
words, it was the result of the sofists atitude towards being itsel. While Sokrates function was to witness and help the being to be born through logos as dia-logos, sophists
wanted to create the being by the measure of a man, so using logos as a delusion and
hence, creating an illusion of being.
Keywords: sophist, sophists, logos, rhetoric.
: 25. 2014.
2014.
211

811.111367.625255.4=163.41
UNBOUNDED TELIC SITUATIONS IN ENGLISH

LANGUAGE AND THEIR TRANSLATION
EQUIVALENTS IN SERBIAN1
This paper presents a brief contrastive study of Serbian translation equivalents of telic situations
(accomplishments and achievements) used in imperfective verbal aspect in English language.
The aim is to examine to what extent the differences in the use of imperfective verbal aspect
between these two languages allow retention of distinctive semantic feature [+ telicity] and the
language manner to acheve this. Moreover, we shall analyze how the imperfective aspect affects
the semantic feature [+/- duration], which distinguishes accomplishments from achievements.
The corpus of this research is the novel A Clockwork Orange by Anthony Burgess and its translation to Serbian (Paklena pomoranda). Corpus analysis is synchronous contrastive analysis of
telic situations used in Past Progressive, Present Progressive and Present Perfect Progressive (the
total of 100 sentences) and their translation equivalents in Serbian.
Key words: imperfective verbal aspect, Aktionsart, telicity, accomplishments, achievements,
translation equivalents
1. VERBAL ASPECT AND AKTIONSART IN ENGLISH AND

SERBIAN LANGUAGE
When discussing verbal aspect, it is important to emphasize that
the opposition between perfective and imperfective verb phrases is not
completeness vs incompleteness2, but rather divisibility and indivisibility
of the time dimension of the action expressed by the verb (Rianovi 1976:
83). Verbal aspect presents the situation (action) as
1) a whole implies totive aspect (perfective), or
2) a structure implies non-totive aspect (imperfective)
1
The paper was presented at the6th annual conference Contemporary Studies in Language and
Literature (VI Skup mladih filologa Srbije, Savremena prouavanja jezika i knjievnosti); Kragujevac, 22nd
March 2014.
2
In his article from 1982, which represents a revised analysis of verbal aspect as a general grammatical category, Rianovi concludes that, even without indepth analysis, it is evident that
verbal aspect is not an opposition between completeness or incompleteness of an action, since it does
not apply to numerous aspectual pairs in Slavic languages: vidjeti viati (see see occasionally)
(Rianovi 1982: 86)
213
Verbal aspect, therefore, clarifies the phenomenon stemming from

the inherent temporal qualities (temporal contour) of the action or state
expressed by the verb phrase, independent of the tense of the given
verb phrase (Rianovi 1982: 84). On the other hand, Aktionsart reflects
the nature of a verb phrase and represents a combination of distinctive
semantic features [+/- stative], [+/- duration] and [+/- telicity] (Novakov
2005: 25-26). The difference between the two languages discussed in this
paper, when it comes to verbal aspect, is that, in Serbian, the verbal aspect
is marked at the lexical level while what determines verbal aspect of a VP
in English is the choice of tense. When considering Aktionsart we shall use
Vendlers classification (Vendler 1957), according to which situation types
are divided into states, activities, accomplishments and achievements. They
differ in the temporal properties of dynamism, durativity, and telicity:
Activities
states
accomplishments
achievements
stative
durative
telic
Both in English and in Serbian the verbal aspect presents a situation

as a structure or as a whole, while situation type (Aktionsart) shows the
semantic qualities, i.e. the nature of the verbal situation.
2. TELICITY AND IMPERFECTIVE VERBAL ASPECT
Telic situation types are accomplishments and achievements. Telicity
implies the presence of a goal, i.e. an endpoint, the final segment hence the
structure of these situation types is not homogeneous. As opposed to them, atelic
situation types (activities and states) do not tend towards a goal or an endpoint,
and can, so to say, extend over unlimited periods of time. As for the correlation
between telicity and imperfectiveness Declercks work is important and cited by
numerous researchers. Depraetere (1995: 1-2) writes:
(A)telicity has to do with whether or not a situation is described as having an inherent or intended endpoint; (un)boundedness relates to whether
or not a situation is described as having reached a temporal boundary (cf.
Declerck 1989, p. 277).
Lazovi (2011: 60) notices that telicity, as a distinctive feature, points

merely to the existence of a goal, but does not necessarily reveal whether
that goal is achieved. When telic verbal situations are used in imperfective
form the goal is neutralized (Stamenkovi 2010: 666). As seen in the
214
/ , ,
previous passage, Declerck introduces the difference between bounded and

unbounded verbal situations, thus expanding the definition of semantic
category of telicity. This would imply that bounded telic verbal situations
tend towards the realization of the semantically contained goal and achieve
that goal, while unbounded telic situations also tend towards the realization
of the goal, but it is left unresolved whether that goal is achieved or not,
i.e. the goal is not given as achieved, which does not imply that the goal
does not exist. Imperfective telic situations still comprise the final segment
after which the situation naturally ends, and are, therefore, presented as
a structure, but without revealing whether the goal is achieved or not.
That which determines whether a certain VP is telic or not, can also
be the direct object of the VP as well as the PP (with verbs of movement)3.
The following examples which illustrate the abovesaid were taken from
Jackendoffs paper (Jackendoff 1996: 306-309):
1 () Bill ate an apple/drew a circle in an hour/by 8:004
(b) ??Bill ate an apple/drew a circle for an hour/ until 8:00
Verb phrases eat an apple and draw a circle are telic, since they
necessarily contain a final segment after which the situation naturally
ends. However, if the direct object is a mass or plural noun, the scenario is
somewhat different:
2 () *Bill ate custard in an hour/by 8:00
(b) Bill ate custard for an hour/until 8:00
3 () Bill ate fifteen sandwiches in an hour/by 8:00/*for an

hour/*until 8:00
(b) Bill ate sandwiches for an hour/until 8:00/*in an hour/*by 8:00
Sentence 2 contains an object which represents an unlimited amount
of substance, not in the sense that the given substance has no boundaries,
but in the sense that its boundaries are outside the context provided in
in the sentence. Similar rule applies to the sentence in example 3: plural
noun (sandwiches) by no means implies that the amount of sandwiches
is unlimited, rather that the amount of sandwiches falls under a set of
elements with limits outside the situation described in the given sentence.
As far as the verbs of movement are concerned telic situations are those
VPs that contain expressions denoting goal [4 ()] or measure [4 ()]:
3
Aspectual categories are also in tight connection to transitivity of verbs, plural nounsmass
nouns dichotomy, as well as other grammartical phenomena which, at first glance, have nothing to do
with verbal aspect (Rianovi 1982: 98).
4
Syntactic tests for determining verbal situation types are: 1. those connected to atelic situations: for X time, if one stops Ving, one did V; 2. those that entail the final segment or a goal: in X time,
how long did it take to V, it took X time to V.
215
4 () Bill pushed the cart to NY in/??for two days.

(b) Bill pushed a cart four miles in/??for two days.
(c) Bill pushed a cart for/?in two days.
Apart from that, as already stated above, the choice of PP affects
telicity:
4 (d) Bill pushed the cart into the house/over the bridge in/??for
two minutes.
(e) Bill pushed the cart along the road/toward the house for/*in
two minutes.
Prepositional phrases containing a defined endpoint [4 () and 4 (e)]
denote bounded paths and those situations are telic. This will be discussed
further in this paper, within the corpus analysis. It is important to note
the difference between the two languages which are the subject of this
research examples 1 and 2 act differently if translated into Serbian
language. Naimely, in Serbian, the key role in expressing telicity and verbal
aspect is played by perfective prefixes; therefore, we have two different
verbs (pojesti and jesti)5 depending on the context:
5 (a) Bil je pojeo jabuku/nacrtao krug za sat vremena
(b) Bil je jeo krem/sendvie/crtao krugove sat vremena.
In Serbian, distinctive feature [+ telicity] virtually determines whether
a verb can be used in imperfective aspect or not (Stamenkovi 2010: 666),
while in English language (granted several exceptions in connection with
Aktionsart) any VP can be used both in progressive and nonprogressive
form. The most general meaning of progressive form of a verb in English
is precisely that of presenting given situation as a structure imperfective
verbal aspect (Novakov 2005: 36)6. Hence, a question imposes itself: how
are imperfective telic situations most frequently translated into Serbian
and why?
3. CORPUS ANALYSIS
The first part of our analysis will focus on telic verbal situations that
imply semantic feature [+ duration] and their translation equivalents,
while the second part of corpus analysis will be dedicated to instantaneous
telic situations, their translation equivalents, as well as the similarities and
differences between these two types of telic verbal situations.
5
English equivalents would be eat up and eat.
6
However, in English language the meaning of completeness does not always depend on
verb form that is used, but on the context. For example, verb lackig object phrase does not denote
completeness (Mary read yesterday/Mary read a letter yesterday) (Novakov 2005: 35)
216
/ , ,
3.1. ACCOMPLISHMENTS
Accomplishments are verbal situations which do not have
homogeneous structure, since within their structure there is a terminal
segment which marks the endpoint in which the situation naturally ends.
Distinctive features of accomplishments are [- stative], [+ durative] and [+
telic].
3.1.1.
Corpus analysis has shown that majority of imperfective
accomplishments in English were, in fact, translated by accomplishments
in Serbian (59.8%):
6 () I was making this very strong pot of chai / dok sam pripremao

lone jakog aja
(b) this starry ptitsa () was pouring the old moloko from a milk
-bottle into saucers / je neka babuskara () sipala mleko iz boce
u tanjirie
(c) And then I found they were strapping my rookers to the chair -arms / Odmah potom su navalili da mi vezuju ruke I noge za stolicu
(d) He was still wiping this same plate / Jo uvek je brisao isti tanjir
(e) I could viddy we were driving out of town / Video sam da
se vozimo van grada
By analyzing the examples 6 (), 6 (b), 6 (c), 6 (d) and 6 (e) it can
be concluded that, within the telic situations with the distinctive feature
[+ telic], and are used in Past Progressive, telicity is not lost, rather it is
neutralized. Unbounded telic situations tend towards completion of the
goal, but do not reveal whether the goal is achieved, which by no means
implies that a goal does not exist.
In the example 6 (e) the prepositional phrase determines the
situation as being telic, since it adds a path containing an end point to
the verb phrase (Jackendoff 1996: 324-327). Without this PP, the sentence
would result in VP denoting activity, both in English and Serbian language:
6 (f) I could viddy we were driving (a car) / Video sam da se vozimo
(kolima)
Progressive accomplishments are not, therefore, of the same
situational type as progressive activities (see also Lazovi 2012: 61-62).
Since they differ in distinctive feature [+/- telicity], the semantic category
of telicity separates activities from accomplishments even in imperfective
aspect, since accomplishments contain the meaning of having a goal, i.e.
the final segment in their structure, and imply some kind of qualitative
change in the situation, even though that goal is not achieved when used
217
in progressive form. Translation equivalents in Serbian language maintain

the same parameters imperfective verbal aspect with distinctive features
[- stative], [+ durative] and [+ telic]. Sentences within the Serbian
translation also imply that the goal is neutralized, in the sense that it is not
given as accomplished. There are also examples of translation equivalents
where the goal that has been neutralized by the use of imperfective aspect
in English is recovered, so to speak, in the Serbian translation of the
sentence:
7 (a) somebody has been beating you up / neko te je stvarno dobro
premlatio
Example 7 () illustrates a situation where, when translating an
imperfective accomplishment, the goal is recovered, i.e. in the Serbian
translation we have perfective telic verbal situation. The translator opted
for a verb with perfective prefix premlatio,7 and, simultaneously chose
perfective aspect as well as telic verbal situation, therefore presenting the
goal as accomplished. Namely, in Serbian, perfective prefixes have triple
function they mark perfective verbal aspect, derive a new verb with a
new meaning, but, they also mark a telic verbal situation (Milivojevi 2007:
398-400, 404; Novakov 2005: 84-85). In the example given above, the
prefix converted activity (with distinctive features [- stative], [+ durative]
and [- telic]) neko te je stvarno dobro mlatio8 into accomplishment (with
dixtinctive features [- stative], [+ durative] and [+ telic]).
3.1.2.
Within the corpus used for this paper 17.6% of accomplishments
were translated by activities. The reason for translating accomplishments
by activities can be found in the fact that these two situational types differ
only in the semantic feature of telicity, and, as said previously, in the
impefective verbal aspect the goal is neutralized:
8 (a) and was mopping the red flow / I brisao njome crveni potoi
(b) and the red krovvy was easing its flow now / a mlaz krvi ()
je jenjavao
(c) (we) were smoking a quiet cancer each on our bunks / i u
tiini smo dimili svoje cigare, svako na svom leaju
The sentence in the example 8 () clearly illustrates the consequences
of the fact that, in Serbian, the grammatical category of imprfectiveness is
shown at the lexical level. The translator optted for the verb brisati instead
of its perfective pair obrisati in order to emphasize the semantic feature [+
durative] and leave the goal unachieved, as in the original text. This can
7
8
218
Beat up
Somebody has been beating you (really good)
/ , ,
often be resolved by the use of verb forms containing perfective prefix but
also bear the notion of secondary perfectivity (Milivojevi 2007: 402):
9 (a) Dim had a big thick stick of black greasepaint and was tracing
filthy slovos real big over our municipal painting and doing the
old Dim guff - wuh huh huh - while he did it. / Tupoglavi je crnim
sprejem ispisivao po optinskom zidu sve prljavtine kojih je
mogao da se seti, mumlajui usput neke rei bez znaenja.
The verb ispisivati is, so to say, the third member of the sequence
pisati ispisati ispisivati. On this issue Milivojevi (2007: 402) writes:
These verbs are also prexed, but the actions they denote are essentially
continuing or iterative, rather than COMPLETED. Their telicity, is therefore
highly context dependent, and is usually made explicit by a nominal object.
Also, the goal appears to be broken into phases of achieving/completing.
The verb in the example 8 () brisati cannot form this type of

sequence: *brisati obrisati obrisivati, so the translator could not have
opted for a solution with a verb containing the feature of secondary
perfectivity. On the other hand, in the example 8 (c) the object of the
translated sentence is a plural noun (svoje cigare instead of the singular
noun in the original text a quiet cancer), therefore its boundaries are
outside the frame of the given situation, which makes the verbal situation
unbounded and atelic (Jackendoff 1996: 307).
3.1.3.
Within the corpus analysis we found examples of accomplishments
being translated by achievements (7.8%) and states (5.8%), and also
sentences where the entire verb phrase is omitted (8.8%):
10 (a) Then they were going down the stairs and I dropped off to
sleep / Onda su strale niz stepenice i ja sam zakuntao
(b) Then I was dratsing my way back to being awake through my
own krovvy, pints and quarts and gallons of it / Probudio sam
se, jedva se probudivi kroz hektolitre sopstvene krvi
11 (a) We were doing very hor-rorshow / Tabaina je stvarno bila haos
(b) The stereo was on again and was playing a very sick electronic
guitar veshch / Stereo je opet bio u pogonu i ula se neka totalno
bolesna svirka na elektrinoj gitari
12 (a) when weve been doing our exercise / za vreme fiskulture
In the examples of translating accomplishments by achievements
sentences 10 () and 10 (b) by using perfective aspect in the translated
sentences the goal is recovered, i.e. achieved, which is not shown in the
219
original. In the translated sentences one could have used verbs without
the perfective prefix trati and buditi se. Moreover, in these translated
sentences the distinctive feature [+ durative] is lost. In the sentences 11
(a) and (b) accomplishment is translated by a state which has the feature
[+ durative] in common with accomplishments. When it comes to the
example 11 (a) it can be concluded that the translation was translators free
choice and in the example 11 (b) the reason for such translation is the fact
that in Serbian language one cannot say that a stereo plays music (stereo
puta muziku). Sentence 12 illustrates an example where the VP is omitted,
so instead of an adverbial clause in the translated sentence we have only
adverbial phrase.
3.2. ACHIEVEMENTS
Achievements are situational types that contain one moment alone,
in which the entire situation is realized. Distinctive semantic features of
achievements are [- stative], [- durative] and [+ telic].
3.2.1.
Within corpus used for this paper it has been determined that, despite the fact that achievements are instantenious situational type, majority (55.2%) of imperfective achievements are translated by achievements
in Serbian:
13 (a) Im starting off the story with / od koje poinjem ovu priu
(b) this fatty bruiseboy was turning to his millicent droogs /
Kako se onaj debeli razbija okree prema svojim prijateljima
(c) You are passing now to a region where you will be beyond the
reach of the power of prayer / Prelazi sada u oblast koja
je van dometa moi molitve
(d) Now all the time I was watching this I was beginning to get
very aware of a like not feeling all that well / Gledajui ovo,
postao sam svestan da se i ne oseam ba tako dobro
(e) and important veck who was coming to viddy Your Humble
Narrator / vanog tipa koji je doao da vidi Iskreno Vaeg
Pripovedaa
Verb phrases in the English sentences instantaneous telic situations are used in imperfective form without changing their situational
type. Namely, imperfective aspect implies duration, hence stands in direct
contradiction to the features [- stative], [- durative] and [+ telic]. What is
characteristic of achievements in imperfective form is the fact that the
duration of the action actualy refers to the time period that preceeds the
achievement of the goal, not to the verbal situation itself. Let us take the
220
/ , ,
sentence 13 (a) as an illustration: if we were to apply the sintactic test How

long did it take you to V? we would see that the question How long did it take
you to start the story off? refers to preparatory activities, so to speak, i.e.
to the time period preceeding the starting off of the story. Therefore, it
can be concluded that achievements, even in the imperfective form, imply
instantanious change in state and cannot go with adverbials denoting a
situation in progress (see Lazovi 2012: 65):
14 (a) *I was half way through starting the story off
This is not the case with accomplishments. If we applied the same
test to the sentence 6 (), we would see that the question How long did it
take you to make this very strong pot of chai? refers to the duration of the
entire verbal situation. As can be seen, even though both accomplishments
and achievements in imperfective form represent unbounded telic
situations, it is not possible to regard them as one and the same. They have
the semantic quality of telicity since the meaning of having a goal exists,
and are unbounded since that goal is not achieved.
Sentences 13 (d) and 13 (e) illustrate cases where perfective aspect
is used in the Serbian translation. The difference between the original and
the translation is in that verbal situations in the translated sentences have
a goal that is achieved, as discussed previously in this paper in the chapter
about accomplishments and their translation equivalents.
3.2.2.
It often occurs that, when translating verbal situation that do not
naturally imply duration into Serbian, achievements acquire a dimension
of iterativeness. Consequently, within the corpus used for this study, a
significant number of achievements are translated by activities (31%):
15 (a) and the auto was coughing kashl kashl kashl / i kola su poela
da kah kah kaljucaju
(b) they were like punchipunching me with their teeny fists / i kao
udarale me svojim pesniicama
(c) because youre getting better / zato to kod tebe ide nabolje
(d) I was still puzzling out all this and wondering whether I should
refuse to be strapped down to this chair tomorrow / Jo uvek
sam dumao na tu temu i pitao se da li da sutra jednostavno
dbijem da dozvolim da me veu za onu stolicu
In the example 15 () which is, actually, a semelfactive9 the
sentence in Serbian comprises a VP with the dimension of iterativeness,
9
The term semelfactive is often used to refer to punctual situations irrespective of whether
they are used iteratively or not. It is a class of Aktionsart, first posited by Bernard Comrie in addition to
221
hence resulting in verbal situational type with distinctive features [stative], [+ durative] and [- telic]. Situational types in 15 () and 15 (b) are
atelic since the boundaries of the goal are outside the frame of the given
situation how many instances of coughing, or punching, represent the
completion of the goal?
3.2.3.
Apart from translating achievements with activities and
achievements, there are few examples of achievements translated with
accomplishments and states, as well as instances where the VP is omitted:
16 (a) he was prodding at me with a long stick / Koji me je budio
gurkajui me nekom dugakom palicom
17 (a) and I could viddy quite clear he was going off his gulliver /
na ta je meni bilo jasno ko dan da tip nije sam u glavi
18 (a) and hearing them creech they were dying / sluam ih kako
vrite u samrtnoj agoniji
The intention here is not to demonstrate any features achievements
or their translation equivalents have, but rather to show, with the examples
16, 17 and 18, to what extent part of the translation equivalents depends
on the choice of the person translating the text. Depending on the corpus,
certain percentage of translation equivalents may not be motivated by
a feature one is examining, which needs to be taken into consideration
when conducting a study. Namely, in the sentence 16 the translator added
verb buditi based on the context, in consequence translating achievement
with accomplishment; 17 and 18 are typical examples of freedom of
translation instead of nije sam u glavi there could stand a phrase sii s
uma, for example. The same can be concluded about some of the previous
examples: in the example 15 (d), instead of the verb dumati one could have
used odgonetnuti/odgonetati, etc.
Based on corpus analysis, we can see that imperfective accomplishments and achievements are two different types of unbounded telic siutations and that, in both cases, neutralization of the goal occurs, which does
not mean that the goal does not exist. What separates these two telic situational types (when compared in the imperfective form) is the fact that the
use of imperfective aspect emphasises the duration of the verbal situation
when it comes to accomplishments, while with achievements the duration
refers to the activities preceeding the culmination (reaching the goal). This
is because achievements imply instantaneous achieving of the goal.
Activity, Accomplishment, Achievement, and State. Semelfactive verbs include blink, sneeze, and
knock.
222
/ , ,
4. CONCLUSION
On the strength of analysis of telic verbal situations in imperfective
aspect in English and Serbian language, it can be concluded that both
accomplishments and achievements imply existence of a goal, i.e. a final
segment in their structure, although the goal is not given as being achieved
it is neutralized. In some instances of the translation of unbounded telic
situations, verbal aspect is changed, hence the goal is recovered, i.e.
presented as achieved (which is not shown in the original text). The number
of such translation equivalents is not high and, moreover, one should take
into consideration the fact that sometimes translation equivalents reflect
the choice the translator makes on his/her own free will.
The analysis has also shown that the degree of compatibility between
the two laguages is high, at least when it comes to verbal aspect and
Aktionsart. Namely, the largest percentage of accomplishments retained its
semantic features when translated into Serbian, while that percentage is
somewhat lower in the case of achievements. Reason for this can be found
in the fact that verbal situations which do not imply duration, acquire a
dimension of iterativeness when used in imperfective form, which brings
them closer to activities.
In order to further test the retention of semantic features of verbs
when imperfective telic situations are translated from English into Serbian
language, one should expand and vary the corpus. Nevertheless, the study
presented in this paper demonstrates compatibility of verbal systems of
the two languages.
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/

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( )
.

[+ ]
. ,
, [+/- ]
. A Clockwork Orange
( ).
Past
Progressive, Present Progressive i Present Perfect Progressive ( 100 )
.
: , (Aktionsart),
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: 26. 2014.
2014.
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( 1979: 38) 2
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: Tragedy is, then, a representation of an action that is heroic
and complete and of a certain magnitude - by means of language enriched with all kinds of orna- ment,
each used separately in the different parts of the play: it represents men in action and does not use
narrative, and through pity and fear it effects relief to these and similar emotions. ( 1966,
: 1449 b, 24-28)
3
,
: : had not the son of Priam, Helenus, far the best of
augurs. ( 1924, , VI : 72)
226
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231; 2002: 131-159; 2011: 139-160) , .
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1990: 108-109).

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( 1879: 50; 2002: 259-260; 2009:
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487-627; 1955: 112[k], 158[p], 166[i], 167[e], 168[f]; 1913:
70, 82, 83, 90; 2002: 9-13; 1986: 44, 54;
2001: 93-98; 2002: 145-154; 1983: 56-58; 1985:
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(Murray 1993: 221)
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one, leave the car; yield to necessity and take upon you this novel yoke. ( 1926, :
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1177)
229
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XXIV , 199-200)
11
.: for monstrous was the deed he devised ( 1919, :
III , 261)
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14
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- 1997: 317-318)
( 1937). - :
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.
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Panagiotis Asimopoulos, Ioanna Fokou / AESCHYLUS AND EURIPIDES ABOUT
CASSANDRA
Summary / Based on the unquestionable fact with diachronic domain according to
which the ancient Greek myth as a vector of original and simultaneously intertextual
parameters has functioned as a trustworthy source for incomparable inspirations this
paper aims at an extensive research of Cassandras enigmatic and tragic personality.
More specifically is performed a search of the adventurous course concerning that
controversial female figure in the unique poetic works of leading tragedians, Aeschylus
and Euripides, in which the theoretic mythological background is interwoven with
the multifaceted manifestations of the ecstatic prophetess. Through a combination
approach to the way of accepting the myth we emphasize the continued development, the permanent enrichment and the successful transformation of the mythical
hypertext that is rich in concepts and symbols. In addition we point the interactive
presentation between the poets who by their own inspired point of view exploit the
dynamic set consisted of the allegoric feedback and the palindromic archetypes in a
temporally nonclassified, excellent work.
Key words: tragedy, Cassandra, Aeschylus, Euripides
: 3. 2013.
2014.
247
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XV / 54 / 2014.

aslav Nikoli, Assistant Professor, PhD

Vladimir Polomac, Assistant Professor, PhD

Nikola Bubanja, Assistant Professor, PhD

Jelena Arsenijevi, Assistant, PhD

prof. Persida Lazarevi di Giakomo, Full Professor, PhD

Jelenka Pandurevi, Assistant Professor, PhD

Svetlana Kalezi, Assistant Professor, PhD

Ivan Maji, Assistant Professor, PhD

Ostap Slavinski, Assistant Professor, PhD

Borjan Janev, Assistant Professor, PhD

BERNARD SHAW AND THE FEMALE VOICE.............................. 81

ELEMENTS OF THE EARLY GOTHIC IN E. A. POES THE FALL

UNBOUNDED TELIC SITUATIONS IN ENGLISH LANGUAGE

, - ( 2006: 19, 2009: 103).

, ( 1992: 9). (1992)

2006: T. Ricento (Ed.), An Introduction to Language Policy. Theory and Method,

2007: V. Bagari, Definiranje komunikativne kompetencije, Metodika, 1,

Lipar / Journal for Literature, Language, Art and Culture

Lipar / Journal for Literature, Language, Art and Culture

Lipar / Journal for Literature, Language, Art and Culture

Schlsselwrter: Motivation von DaF-Lernenden, Grundschule, Motivationsfaktoren,

BERNARD SHAW AND THE FEMALE VOICE

In his book on Shakespeare, Terry Eagleton (1986: 64-65) explains

Hell in Shakespeares vocabulary equals the meaning of nothing. With

This paper champions Bernard Shaw as the playwright who changed

unwomanly woman, which proved to have exerted a tremendous influence

According to Bax, there are still many different ways to dispose of

Although this is true of the early Shaw, the cogency of Powells

These condemnations further escalated in the works of Friedrich

This is expressed somewhat mockingly in several other plays, in

but to resort to prostitution and eventually become a brothel owner.

Thus, prostitution must not be regarded as a willingly chosen

the placing of husband and wife on an equality of duty in the matter of

humanity is invisible. When Cornell speaks of equivalent rights, she deems

Lipar / Journal for Literature, Language, Art and Culture

Shaw 1915: G. B. Shaw, The Quintessence of Ibsenism, New York: Brentanos.

Lipar / Journal for Literature, Language, Art and Culture

Lipar / Journal for Literature, Language, Art and Culture

... ( 2003: 48) ,

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

Haravej 1991: D. Haravej Manifest za Kiborge (

Lipar / Journal for Literature, Language, Art and Culture

ELEMENTS OF THE EARLY GOTHIC IN E. A. POES

1. THE EARLY GOTHIC IN ENGLAND

a short story written in 1854 by Nathaniel Hawthorne, ventures at night

3.1. THE SETTING

Moving to the spatial dimension, the most common locus of the

Poes literary talent is essential if we are to compare the fall motif to

This is the final detail in the description of the entire structure

This description of the state of mind strikingly similar to the one

However, it should be stated that Poe does in some instances relate

A setting deep in the mists of time was an essential ingredient of the

Walpole instigated this tradition by writing a preface to the first

He mischievously suggested that the architecture was so vividly

3.6. A TALE WITHIN

Lipar / Journal for Literature, Language, Art and Culture

3.7. THE SUPERNATURAL

Since the supernatural is an essential ingredient of the Gothic

However, as John Donne wrote, no man is an island and neither was