The work provides summarized delineation of the development of Serbian theater and drama from 2nd half of the 20th century till now and still defines the bases of contemporary Serbian dramatic works. It describes its characteristics and specifics based on the analysis of specific dramatic works. The emphasis is both on a breakthrough events theatrical of 80's and 90's of the 20th century also on the major dramatic figures of the period of the late 20th century. The work contains a detailed analysis of the three key texts of modern Serbian dramatic literature.

<p>У дисертацији су проучени српски хумористичко-сатирички листови с краја XIX и почетка XX века, тачније из периода 1881&ndash;1903. године. Трагано је за хумористичко-сатиричким прилозима како би се они укључили у корпус српске књижевности тог периода. Истраживање је спроведено применом критичко-методичког апарата за изучавање књижевно-уметничких дела. Основна идеја била је да се покаже да раније маргинализована грађа завређује пажњу историчара српске књижевности, јер прилози који су анализирани у раду показују да су у њима коришћене стилске фигуре и поступци као и у другим родовима и жанровима који су били третирани као норма српске књижевности. Прилози у српској хумористичко-сатиричкој периодици овог времена могу да буду одлична грађа не само за књижевну историју, већ и за историјску, социолошку, психолошку, културолошку или родну анализу. То је важно, јер се кроз хумористичке прилоге проговарало о темама које су биле табуиране и цензурисане у озбиљним политичким листовима. У шаљивој периодици готово увек је постојао и ликовни део у виду карикатура које су пратиле текст. У раду се наглашава повезаност ликовног и текстуалног слоја тих прилога, тако да се помињу и неки од најзначајнијих твораца карикатуре код Срба из тог периода (Драгутин Дамјановић, Јосип Даниловац, Јован Јовановић Змај и други). Стога ови прилози могу да се проучавају и са аспекта ликовне уметности. Текстуални елемент&nbsp;карикатура имао је увек подтекст који је могао бити историјски, књижевни, па чак и религиозни, али који је обавезно био кључ за разумевање карикатуре. Данашњем читаоцу тај подтекст је далек и циљ рада био је да се он појасни и да се карикатура на прави начин протумачи. Показало се да су се аутори хумористичко-сатиричких прилога бавили пре свега политиком на микро и макро нивоу, црквеним темама, родним темама, путописним темама и другим. Рад показује велику актуелност хумористичко-сатиричке периодике у оно време и да су српски листови пратили трендове који су постојали у истоврсној литератури у Европи и шире.</p> / <p>U disertaciji su proučeni srpski humorističko-satirički listovi s kraja XIX i početka XX veka, tačnije iz perioda 1881&ndash;1903. godine. Tragano je za humorističko-satiričkim prilozima kako bi se oni uključili u korpus srpske književnosti tog perioda. Istraživanje je sprovedeno primenom kritičko-metodičkog aparata za izučavanje književno-umetničkih dela. Osnovna ideja bila je da se pokaže da ranije marginalizovana građa zavređuje pažnju istoričara srpske književnosti, jer prilozi koji su analizirani u radu pokazuju da su u njima korišćene stilske figure i postupci kao i u drugim rodovima i žanrovima koji su bili tretirani kao norma srpske književnosti. Prilozi u srpskoj humorističko-satiričkoj periodici ovog vremena mogu da budu odlična građa ne samo za književnu istoriju, već i za istorijsku, sociološku, psihološku, kulturološku ili rodnu analizu. To je važno, jer se kroz humorističke priloge progovaralo o temama koje su bile tabuirane i cenzurisane u ozbiljnim političkim listovima. U šaljivoj periodici gotovo uvek je postojao i likovni deo u vidu karikatura koje su pratile tekst. U radu se naglašava povezanost likovnog i tekstualnog sloja tih priloga, tako da se pominju i neki od najznačajnijih tvoraca karikature kod Srba iz tog perioda (Dragutin Damjanović, Josip Danilovac, Jovan Jovanović Zmaj i drugi). Stoga ovi prilozi mogu da se proučavaju i sa aspekta likovne umetnosti. Tekstualni element&nbsp;karikatura imao je uvek podtekst koji je mogao biti istorijski, književni, pa čak i religiozni, ali koji je obavezno bio ključ za razumevanje karikature. Današnjem čitaocu taj podtekst je dalek i cilj rada bio je da se on pojasni i da se karikatura na pravi način protumači. Pokazalo se da su se autori humorističko-satiričkih priloga bavili pre svega politikom na mikro i makro nivou, crkvenim temama, rodnim temama, putopisnim temama i drugim. Rad pokazuje veliku aktuelnost humorističko-satiričke periodike u ono vreme i da su srpski listovi pratili trendove koji su postojali u istovrsnoj literaturi u Evropi i šire.</p> / <p>The dissertation examines a set of Serbian humorous-satirical journals at the end of the 19th and the beginning of the 20th century, in the period between 1881 and 1903. It aimed at identifying the humorous-satirical articles in order to include them in the Serbian literature of that period. The research was carried out by using the critical and methodical apparatus for studying literary and artistic works. The main idea was to demonstrate that previously marginalized material deserved proper attention of literary historians, since the articles analyzed in the dissertation contained both the figures of speech and literary procedures seen in other works and genres treated as normative in the Serbian literature. Articles in the Serbian humorous-satirical periodicals of that time could be an excellent material not only for literary history, but also for historical, sociological, psychological, cultural and gender research. This is important, having in mind that the comical articles spoke about the topics that were forbidden or censored in serious political journals. In comic periodicals, there was almost always a segment of fine art, displayed through caricatures accompanying the text. The dissertation emphasises this connection between the caricatures and the text. Therefore, it references some of the most prominent Serbian caricature artists of that&nbsp;time (Dragutin Damjanović, Josip Danilovac, Jovan Jovanović Zmaj, etc.). Furthermore, these articles can be analysed from the point of view of fine arts. The textual element of caricatures always had the subtext which could be historical, literary, or even religious, and it was always the key to understaninding the caricature. To the contemporary reader, this subtext is out of reach. The dissertation aims at making it understandable so as to correctly interpret the caricature. It became obvious that the authors of humorous-satirical articles predominanty dealt with politics on the micro and macro levels, clerical topics, gender issues, travel literature, and so on. The dissertation shows that the humorous-satirical periodical was highly resonant of its time and that Serbian journals followed the trends of the same kind of literature in Europe and elsewhere.</p>

<p>U ovom istraţivanju bavimo se kategorijom koncesivnosti u francuskom, italijanskom i srpskom jeziku. Ovoj kategoriji pristupamo sa stanovi&scaron;ta sintakse i semantike: utvrĊujemo inventar formalnih sredstava i sintakstiĉkih postupaka kojima se koncesivnost formalizuje u posmatranim jezicima, a pritom analiziramo i semantiĉki sadrţaj tih struktura. Cilj ove studije jeste da se najpre ustanove razliĉiti postupci izraţavanja koncesivnosti na svim sintaksiĉkim nivoima, a zatim, u skladu sa kontrastivnim pristupom, da se utvrde i sistematizuju strukturne podudarnosti i nepodudarnosti u francuskom, italijanskom i srpskom jeziku, kao i da se utvrdi stemen semantiĉke ekvivalencije izmeĊu njih. Na teorijskom planu, rezultati ovog istraţivanja objedinjuju postojeća lingvistiĉka saznanja o ovoj problematici, a na praktiĉnom planu moguća je njihova primena u nastavi francuskog i italijanskog jezika kao stranih jezika, kao i u prevodilaĉkoj praksi.<br />GraĊa za ovo istraţivanje ekscerpirana je iz dela napisanih na francuskom jeziku, i njihovih objavljenih prevoda na italijanski i srpski jezik.<br />U prvom delu rada daje se pregled teorijskih stavova francuskih, italijanskih i srpskih lingvista o kategoriji koncesivnosti, kao i o njenom odnosu sa drugim semantiĉkim kategorijama, pre svega sa kategorijom kauzalnosti. U drugom delu rada navodi se inventar konstrukcija i leksiĉkih sredstava kojima se koncesivnost iskazuje u tri posmatrana jezika. Pri tom se pravi poseban osvrt na upotrebu glagolskih naĉina u zavisnim koncesivnim reĉenicama. Centralni deo rada predstavlja deo u kome se ustanovljeni inventar analizira na primerima iz korpusa. Pri tom se posebna paţnja posvećuje onim sredstvima za koja korpus beleţi upotrebe koje do sada nisu zabeleţene u literaturi. Zakljuĉna razmatranja sistematizuju dobijene rezultate, i ukazuju na mogućnosti daljih istraţivanja u ovom domenu.</p> / <p>This research deals with the category of concessionality in French, Italian and Serbian. This category is approached from the point of view of syntax and semantics: the research establishes the inventory of formal means and syntactic procedures by which concessionality is formalized in the languages being analyzed, while the semantic content of these structures is also analyzed in the process. The goal of this study is to first identify various procedures for expressing concessionality at all syntactic levels and then, in accordance with the contrastive approach, to determine and systematize the structural congruences and incongruences in French, Italian and Serbian, as well as to determine the level of semantic equivalence among them. At the theoretical level, the results of this study merge the existing linguistic knowledge on this issue, while at a practical level they enable its application in teaching French and Italian as foreign languages, as well as in doing professional translation.<br />The corpus for this research was complied from literary titles written in French, as well as from their published translations into Italian and Serbian.<br />The first part of the thesis provides an overview of theoretical approaches to the category of concessionality by various French, Italian and Serbian linguistcs, as well as of its relationship with other semantic categories, in particular with the category of causality. The second part enumerates the inventory of constructions and lexical means by which concessionality is being expressed in the three languages being analyzed. In doing so, a particular focus is placed on the use of the verbal category of mood in subordinate clauses of concession. The central part of the thesis is the one in which the identified inventory is analyzed on the examples from the corpus. In this part, a special attention is given to the means found in the corpus the use of which has so far not been mentioned in reference titles. Concluding remarks systematize the results and point at possible directions for further research in this field.</p>

<p>U disertaciji je ukazano na vidove<br />ideolo&scaron;ke recepcije srpske književnosti u 20.<br />veku, pri čemu je najznačajniji istraživački<br />napor bio je usmeren ka uočavanju i analizi<br />ideolo&scaron;kog vida recepcije srpske književnosti<br />od početka 1990-ih godina. Ukazuje se da u<br />značajnom segmentu inostrane akademske<br />kritike srpska književnost biva podvrgavana<br />isključivo političkoj kontekstualizaciji i<br />interpretaciji, te da se motiv za njeno<br />uključivanje u domen akademskog<br />interesovanja nalazi, u značajnom broju<br />primera, potpuno izvan sfere književnosti.<br />Nagla&scaron;eno ideolo&scaron;ko vrednovanje, koje<br />zapostavlja estetske odlike i potencira politička<br />značenja u delima srpske literature, uspostavlja<br />takav horizont očekivanja od srpskih pisaca koji<br />se nalazi u suprotnosti sa očekivanjem ove<br />kritike od vlastitih nacionalnih književnosti (u<br />smislu primarnosti estetske relevantnosti), i &ndash; na primeru srpske književnosti &ndash; afirmi&scaron;e principe</p><p>utilitarističkog pristupa, kao i političke<br />relevantnosti i podobnosti. Na taj način, ova<br />kritika pokazuje odlike koje je čine bliskom<br />rigidnoj komunističkoj matrici i njenim<br />obrascima u nauci o književnosti.</p> / <p>Research in this dissertation is focused on<br />observing and analyzing the ideological aspect<br />of the reception of Serbian literature in 20th<br />century, with the strongest emphasis on the<br />period starting in the 1990s. It is shown that a<br />considerable number of foreign<br />universityreviews of Serbian literature subjected<br />it to exclusively political contextualization and<br />interpretation, and that in many examples the<br />reason for including it in the sphere of academic<br />interest was completely outside the domain of<br />literature. This pronounced ideological<br />assessment that disregards aesthetic features and<br />stresses political importance in works of Serbian<br />literature establishes a level of expectation from<br />Serbian writers that is contrary to the<br />expectations of literary criticism of their own<br />national literature (where precedence is given to<br />aesthetic relevance) and &ndash; using the example of<br />Serbian literature &ndash; recognizes the principles of<br />a utilitarian approach, and political relevancy<br />and suitability. Such literary criticism has<br />characteristics that draw it close to the rigid<br />communist matrix and its forms in the science<br />of literature, and also simulates the position of<br />anti-colonial criticism, presenting Serbian<br />literature as the morally inferior literature of a<br />colonizer.</p>

<p>U tezi se analizira mesto i uloga Bogoboja Atanackovića (1826&ndash;1858) u istoriji srpske književnosti. Na osnovu književne recepcije njegovog rada ustanovljeno je da spada u pisce koji su prvo bili preterano hvaljeni, a potom potpuno omalovažavani. Atanacković je imao za cilj da obrazuje i zabavi svoje čitaoce, a stavovi koje je zastupao u svojoj poetici pokazuju da je poznavao savremena mu pedago&scaron;ka stremljenja. Spada u pisce koji su pisali za ženski deo publike i za omladinu. Na Atanackovića su uticali srpski pisci prethodnih epoha i njegovi savremenici, prvenstveno Branko Radičević, potom savremeni mu mađarski, nemački, ruski i francuski pisci, kao i usmena narodna i građanska lirika. U svoja dela unosio je opise događaja iz revolucije 1848&ndash;1849. godine. Njegov doprinos razvoju srpske književnosti ogleda se u napu&scaron;tanju vojvođanskog dijalekta u skladu sa reformom srpskog jezika Vuka Stefanovića Karadžića, kombinovanju sentimentalno-romantičarskih stilskih postupaka sa prvim elementima realizma u srpskoj prozi, kao i okretanju temama iz savremenog života i uno&scaron;enju socijalnih pitanja u književnost, dok je u putopisima koristio meditativno-reporterski stil i epistolarnu formu.</p> / <p> The position and the role of Bogoboj Atanacković (1826&ndash;<br /> 1858) in the Serbian literary history is analysed in the<br /> thesis. On the ground of the literary reception of his work<br /> it has been found out that he belongs to the group of<br /> writers who were at the beginning praised too much, and<br /> later on completely disdained. Atanacković aimed to<br /> educate and entertain his readers, and the attitudes he<br /> supports in his poetics shows that he was familiar with the<br /> contemporary pedagogical teachings. He was writing for<br /> the female part of the audience and for the youth.<br /> Atanacković was influenced by the Serbian writers of the<br /> previous epochs along with his contemporaries, first of all<br /> Branko Radicević, also the contemporary Hungarian,<br /> German, Russian and French writers, as well as the oral<br /> folk and urban lyrics. In his works he described the events<br /> from the 1848&ndash;1849 revolution. His contribution to the<br /> development of the Serbian literature is seen in<br /> abandoning the Vojvodina dialect in accordance with the<br /> Vuk Stefanović Karadžić&rsquo;s reform of the Serbian<br /> language, combining of the sentimental and romantic<br /> style with the first elements of realism in the Serbian<br /> prose, also in turning to the themes from the<br /> contemporary life and including the social aspects into the<br /> literature, while in the prose accounts of his travels he<br /> used meditative-reporter style and the epistle form.</p>

The topic of this dissertation is agreement and case assignment, with particular reference to conjoined noun phrases. The initial chapters look at the different possibilities available in such contexts, including agreement with the features of each individual conjunct, agreement with the features of only one conjunct, or agreement with features computed on the basis of those of the individual conjuncts but not necessarily possessed by them. We propose a way of handling all of these patterns with a single formal mechanism, later applying the same intuitions to the assignment (or non-assignment) of case values by a head to its dependents. Attempts are also made to explore in greater depth some of the factors that might influence the choice of alternative agreement configurations, as well as to extend the scope of the model which we elaborate as we go along to non-conjoined environments where variable agreement occurs. Special emphasis is laid throughout on fluctuations in agreement, either because the controller has mismatched attributes or because the syntactic structure and/or the semantic interpretation allow variation. The final conclusion is that a modular approach to grammar is best placed to deal with the empirical facts. The complexities of the data call for bringing together purely morpho-syntactic, declensional information, syntactic hierarchy, order and constituency, coupled with semantics and pragmatics. The successful, appropriately regulated, interaction of these modules is shown to offer a satisfactory explanation which is difficult to obtain by exclusively relying on syntax or semantics alone.

This thesis is concerned with serbian literature of the second half of 19th century. It describes the main features of the serbian literary realism. More focus is given to the serbian realistic story and its main authors. In the context of this dominant genre deeper tought is given to the rural enviroment of the serbian realistic story. Mainly describing its roots, atributes and the work of the most significant authors of this genre which are Milovan Glišić, Laza Lazarević and Janko Veselinović. Key words: serbian literature, 19th century, realism, story

"Serbian" Cultural Events in Buda and Pest between 1860 and 1867 Miklós Tömöry (Erasmus Mundus Master "TEMA" - Budapest-Prague-Paris) Abstract Key terms: nationalism, Serbian history, Habsburg Empire, Buda and Pest, urban cultural milieus Situated at the very heart of the Habsburg-ruled Hungarian Kingdom, the twin cities of Buda and Pest played an important role as centres of modern Hungarian (Magyar) and Slavic national movements as well in the course of the nineteenth century. Public and semi-public urban spaces and institutions of the public sphere were used by members of the emerging Slovak, Serbian, Croatian national intelligentsias. Considering their importance in this earlier stage of nation building (and not primarily because of their overall ethnic composition) it is even possible to call Buda and Pest as "Slavic cities".1 These urban spaces had a specific role in the case of the Serbian national movement. In these cities institutions were founded which served as patterns for other national movements as well. During this period of time a vivid exchange of ideas between Hungarians and Serbs can be observed in the cities; multilingualism and even multiple identities were characteristic for the era. To describe complex cultural interrelations in the urban space the thesis will use the notion of urban...

Le présent travail traite la lange serbe et la littérature serbe dès ses origines jusqu'à l'époque contemporaine ; les notions élémentaires concernant les termes employés en sémantique en général ainsi que ceux employés dans ledit travail, tels que l'homonymie, la polysémie, la synonymie etc. Notre travail présente la liaison entre la sémantique et la rhétorique. A cette fin, il traite les figures de style et les tropes, sous le prisme linguistique. Il s'agit particulièrement de la métaphore, la métonymie et la synecdoque. Les différents types de métaphores sont abordés : la métaphore morte, la métaphore avec la copule et la métaphore ayant le verbe autre que la copule. Le dernier type de métaphore fait preuve qu'elle n'est pas une comparaison abrégée. Toutes les formes de métonymie sont examinées, ainsi que la synecdoque avec ses sous formes. La théorie ensembliste à l'aide de laquelle la métonymie et la synecdoque sont présentées démontre clairement que la synecdoque a une autonomie significative et qu'elle ne peut être considérée comme une simple sous forme de métonymie. / This work focuses on the Serbian language and literature from its beginnings until the present days, and on the basic concepts concerning the terms used in the general semantic as well as the terms that were used in this work such as homonymy, polysemy, synonymy etc. This work represents the connection between the semantics and the rhetoric. It deals with the figures of speech and the tropes in the light of linguistics. It focuses mainly on metaphor, metonymy and synecdoche. The different types of the metaphor have been taken in consideration: dead metaphor, metaphor with the copula and metaphor with a verb instead of the copula. The last mentioned type of metaphor proves that this figure of speech is not an abbreviated comparison. All the types of the metonymy were examined, as well as synecdoche with its subtypes. The theory of sets that was used for graphic presentation of the different types of metonymy and synecdoche clearly shows that the synecdoche has a significant autonomy and cannot be considered as a simple subtype of the metonymy.

The thesis explores the ways in which Serbian ethnic media in Canada represent their own group and “Others”, specifically Croats, Slovenians and Catholics, Bosniaks, Albanians and Muslims, Montenegrins and the West. The research investigates the convergence of these representations with Canadian multiculturalism. The thesis epistemologically feeds from Jean Jacques Rousseau’s 18th century theories of recognition and patriotism, Stuart Hall’s (1997) theory of representation and identity and Edward Said’s (1978) theory of Orientalism, and is further guided by the theoretical frameworks of Charles Taylor’s (1994) politics of recognition, Benedict Anderson’s (1992) long-distance nationalism and Maria Todorova’s (1994) Balkanism. Qualitative content analysis through purposive and sequential sampling of Serbian ethnic broadcasting is conducted to gauge the programs’ representations of the “Self” and “Others”. Ethnic media provide a method to promote a minority group’s heritage, but also to facilitate communication between various cultural, ethnic, religious and racial groups. In the age of an increased critique of multiculturalism, the role of ethnic media rises in importance. The findings of the thesis show that Serbian ethnic media employ Canadian multiculturalism to promote Serbian heritage, but also to stereotype other groups. Applying the theoretical juxtaposition of multiculturalism, nationalism and “Othering”, this research argues that through negative identification of “Others”, Serbian ethnic media deviate from Canadian multiculturalism that calls for a positive recognition of all Canadian groups.