https://scidar.kg.ac.rs/handle/123456789/8217 Mon, 11 May 2026 21:07:05 GMT 2026-05-11T21:07:05Z https://scidar.kg.ac.rs/handle/123456789/23112 Title: Слика породичног дома у роману Смоква Горана Војновића Authors: Mojsilović, Milica B. Abstract: The beginning of the novel The Fig Tree by Goran Vojnović clearly reveals the framework of its main character’s worldview: only that space in which there are no traces of previous existence can be called one’s own; in any other case, it i s alien, and as such, hostile towards any potential new occupant. One gets the impression that Aleksandar tried with all his might to preserve his own and his wife’s reality, despite the fact that it was irreversibly collapsing, both externally and due to the war events in Yugoslavia. With the death of the one who fi lled that space with his presence, it inevitably lost certain characteristics that the subject assigned to it. This meant that it was no longer the same space at all: the hero no longer felt protected in it; the only thing such a place could now evoke was nostalgia. The end of the novel is given in an optimistic tone within which the house is given a new meaning, which rests on Bachelard’s ideas of the house as a world, a refuge, and a shell in which, like pearls, shared memories gather. Wed, 01 Jan 2025 00:00:00 GMT https://scidar.kg.ac.rs/handle/123456789/23112 2025-01-01T00:00:00Z https://scidar.kg.ac.rs/handle/123456789/23105 Title: HIMNOGRAFSKI IZVORI PESME „DESET OBRAĆANJA BOGORODICI TROJERUČICI HILANDARSKOJˮ LJUBOMIRA SIMOVIĆA Authors: Đurđevic, Đorđe Abstract: In the poem “Deset obraćanja Bogorodici Trojeručici hilandarskoj” by Ljubomir Simović, we recognize a characteristic poetic tendency of postwar Serbian modernism to return to medieval tradition and Orthodox spirituality. By invoking the image of the Mother of God and drawing on the poetics of church hymnography, the poet constructs a prayer-poem centered on the figure of the Theotokos, formed through a synthesis of Marian and hymnographic motifs. However, this poetic-hymnographic appeal to the Virgin Mary does not result in salvation, as it remains confined to aesthetic value, reflecting the inability of postwar modernist poetry to restore lost meaning or transcend the experience of spiritual emptiness. In this way, the poet makes a crucial shift in relation to traditional hymnography: instead of placing theological and soteriological concerns at the forefront, he replaces them with poetic and aesthetic ones. Description: Istraživanje sprovedeno u radu finansiralo je Ministarstvo nauke, tehnološkog razvoja i inovacija Republike Srbije (Ugovor o prenosu sredstava za finansiranje naučnoistraživačkog rada istraživača na akreditovanim visokoškolskim ustanovama u 2025. godini broj: 451-03-136/2025-03/ 200198). Thu, 01 Jan 2026 00:00:00 GMT https://scidar.kg.ac.rs/handle/123456789/23105 2026-01-01T00:00:00Z https://scidar.kg.ac.rs/handle/123456789/23104 Title: (RE)PRODUKCIJA IDEOLOGIJE U DRAMI „ŠTA SE DOGODILO NAKON ŠTO JE NORA NAPUSTILA MUŽA ILI STUBOVI DRUŠTAVA“ ELFRIDE JELINEK Authors: Tešović, Sandra Abstract: Тhis paper examines how Elfriede Jelinek, by situating the play in the era of industrialization and the rise of fascism, in her drama What Happened after Nora Left Her Husband or Pillars of Societies, depicts the formation of female identity at the intersection of ideological and economic structures. The theoretical framework relies on Althusser’s concept of interpellation and Gramsci’s definition of cultural hegemony, which provide insight into the mechanisms through which social order shapes everyday practices and thus determines the individual’s experience of subjectivity. Jelinek exposes the processes of reproducing ideological control and patriarchal domination, whereby the private sphere functions as a space that multiplies cultural and political power. In this way, the play operates both as a reminder of the Nazi legacy and as a critique of contemporary forms of gender and class inequality. Description: Istraživanje sprovedeno u radu finansiralo je Ministarstvo nauke, tehnološkog razvoja i inovacija Republike Srbije (Ugovor o prenosu sredstava za finansiranje naučnoistraživačkog rada istraživača na akreditovanim visokoškolskim ustanovama u 2025. godini broj: 451-03-136/2025-03/200198). Thu, 01 Jan 2026 00:00:00 GMT https://scidar.kg.ac.rs/handle/123456789/23104 2026-01-01T00:00:00Z https://scidar.kg.ac.rs/handle/123456789/23102 Title: SLOBODNI NEUPRAVNI GOVOR U ROMANU EMILA ZOLE „TROVAČNICA“ Authors: Dodig, Milana Abstract: The object of this paper is the analysis of free indirect speech in the novel The Drunkard (L`Assommoir) by Emile Zola. We discussed the phenomenon of free indirect speech as a unique expression of polyphony, or the emergence of multiple voices within a single utterance. Our analysis demonstrated that Zola uses it to give voice to his characters, which can be heard in three ways: firstly, with a clear distance from the narrator’s voice (conventional free indirect speech); secondly, as a sequence of multiple voices (choral free indirect speech); and thirdly, as a fusion of the narrator’s and characters’ voices, with their distinctions difficult to discern (ambiguous double-narrator free indirect speech). The author’s goal was to create a realistic atmosphere and foster a sense of closeness and trustworthiness with the reader in his novel. We could say that the narrator’s voice, whether explicitly represented in free indirect speech or skillfully concealed (conventional and ambiguous free indirect speech), is most often inclined toward the workers, especially regarding the position of women, but it can also serve as a voice of critique. The choral type of free indirect speech is primarily used to depict the character traits of the working class, thus providing the reader with a more credible, realistic, and authentic opinion, as it originates from the primary source ‒ the perspective of multiple members of the class. Regarding the linguistic aspects of free indirect speech, we observed that it possesses typical features for identification within the text: the presence of interjections, third-person pronouns, imperfect, pluperfect, conditional, as well as specific, authentic vocabulary of the working class. Additionally, we noted that Zola, although rarely, employs the second-person plural pronoun, again with the purpose of skillfully guiding the reader to clearly understand the writer’s message. Finally, we aimed to illustrate how Zola uses all three methods of transmitting the speech ‒ including direct, indirect, and free indirect speech ‒ depending on what he aims to emphasize and how he describes the characters’ traits. Thu, 01 Jan 2026 00:00:00 GMT https://scidar.kg.ac.rs/handle/123456789/23102 2026-01-01T00:00:00Z