Lipar 49 1

XIII / 49 / 2012.
Editorial Board
.
- ,

aslav Nikoli, Assisstant Professor

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

.
- ,
Nikola Bubanja, Assisstant Professor


- ,
Jelena Arsenijevi, Assisstant

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

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

Faculty of Philology in Banja Luka, Bosnia and
Hercegovina

, ,
Svetlana Kalezi, Assisstant Professor

Faculty of Philosophy in Niki, Montenegro

, ,
Ivan Maji, Assisstant Professor, PhD

Faculty of Philosophy in Zagreb, Croatia
.

, ,
Ostap Slavinski, Assisstant Professor

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

University of Plovdiv, Plovdiv, Bulgaria

- ,
Editorial assistant
Bojana Veljovi
Reviewers
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.
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prof. Aleksandar Jerkov, PhD

prof. Ala Tatarenko, PhD
Jelenka Pandurevi, Assisstant Professor, PhD
prof. Dalibor Soldati, PhD
prof. Anelka Pejovi, PhD
prof. Persida Lazarevi di akomo, PhD
prof. Radmila Nasti, PhD
Slobodan Vladui, Assisstant Professor, PhD
prof. Radivoje Mladenovi, PhD
Sanja urovi, Assisstant Professor, PhD
prof. Dragan Bokovi, PhD
Sanja Paji, Assisstant Professor, PhD
prof. Ivica Radovanovi, PhD
Aleksandar Nedeljkovi, Assisstant Professor, PhD
Tomislav Pavlovi, Assisstant Professor, PhD
, ,
Journal of Literature, Language, Art and Culture
XIII / 49 / 2012
Year XIII / Volume 49 / 2012

University of Kragujevac
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HOMOEROTICISM IN OSCAR WILDES
THE PICTURE OF DORIAN GRAY: THREE PERSPECTIVES
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Filipovi i Nikola Bertolino, Beograd: Nolit.
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1999: . , ,
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Mojsi, Beograd: Akademska knjiga.
Hegel 1986, Georg Vilhelm Fridrih Hegel, Estetika I, preveo dr Nikola Popovi,
Beograd: BIGZ.
Hegel 1986, Georg Vilhelm Fridrih Hegel, Estetika III, preveo dr Nikola Popovi,
Beograd: BIGZ.
iler 2007: F. iler, Pisma o estetskom vaspitanju oveka, O lepom, preveo Strahinja
Kosti, Novi Beograd, Book & Marso.
2008: . , , , : .
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Jana M. Aleksi / Modern writer in transformation (An attempt of clarification
spiritual-religious dimension of creativity of modern Serbian writers)
Summary / Our initial hypothesis in this paper is that literature, as the artistic creation
and effort, includes distinctive a spiritual-religious energy and dimension of divine
effect. Accordingly, we will try to give an elaboration how artistic and aesthetic, on
the one hand, and spiritual and sensual ideas and achieved aesthetic values, on the
other hand, of Serbian authors activity and work with different poetic characteristics
which in thematic, motivationally and semantically sense are situated in the central
or peripheral place of their artistic achievement obtain divine magic and sense. Our
interest is focused on writers like Isidora Sekulic, Ivo Andric and Slobodan Tisma.
For this intent, we will attempt to find out and to make understand both wittingly
and unwittingly level of realization this imaginative and contemplative potencial.
Key words: art, spirituality, modern artist, beauty, theurgy, the transformed world
: 25. 2012.
2012.
27

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10 Tesich, S. Niggerization: Everything, not just charity, begins at home. <http://www.srpska-mreza.com/
tesich/atHome.htm> 10.09.2011.
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2008: B.Wongar, Manhunt []. Carnegie, Victoria, Australia: Dingo
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. 9-10, 155-203.
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Millennium.New Brunswick: Rutgers University Press.
2001: M. Davis, Late Victorian Holocausts: El Nio Famines and the Making of
the Third World. Verso, New York, London.
2004: R. Ellison, The Invisible Man. New Jersey: Anthology of American
Literature, Eight Edition, Pearson, Prentice Hall.
1994: H. Zinn, A Peoples History of the United States. Longman, London.
Irving, S. Aboriginal Peoples Lose Rights and Mineral Rich Land in Northern Territory
Intervention,
http://www.thewip.net/contributors/2011/04/aboriginal_peoples_
lose_rights.html 23.05. 2012.
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Anarhija/blok 45.
Curnoe, D. Aboriginal Genome Reveals New Insights into Early Humans http://www.
australasianscience.com.au/article/issue-november-2011/aboriginal-genomereveals-new-insights-early-humans.html 23.05. 2012.
45
Karvelas, P. Crusade to save Aboriginal kids from abuse,

http://www.theaustralian.com.au/news/nation/crusade-to-save-aboriginal-kidsfrom-abuse/story-e6frg6nf-1111113800672 23.05. 2012.
1989: . , . :
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STRAIT ISLANDER CONSTITUTIONAL RECOGNITION, May 2011, http://www.
youmeunity.org.au/downloads/2653fb1b6a59a1ab8d18.pdf
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). BBC Four, http://topdocumentaryfilms.com/racism-history/ 10.09.2011.
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srpska-mreza.com/tesich/atHome.htm, 10.09.2011.
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srpanj/kolovoz, 7-10.
SUMMARY: This paper will examine the historical, cultural, and anthropological aspects of the works of B. Wongar, through the novels Raki and Manhunt, plays Balang-An
Village, The stone in my pocket, and The Poplars, as well as the autobiography Dingoes
Den. All these works have a common theme of racism, an ideology which encompasses
the suffering and dying of Aboriginal people, as well as that of the other nations of
different skin colour. This paper will thus strive to conclude that colonialism was the
generator of the prevailing racial theories an economic imperative of the profit
gain which produced numerous pseudo-scientific hypotheses, responsible for violence
and oppression over millions of people. Based on racial prejudice it resulted in free
labor and exploitable ore, be it gold or uranium. Thus, one cannot easily overlook
the fact that national socialism was not an aberration within the European humanist
thought, but a result as such. The current ethnocide over Aboriginal people might
help us understand that the apparitions of racist thought are not just a history textbook curiosity, but an ideology deeply rooted in the anti-constitutional acts against
the Aborigines, which is where Wongars subversive poetics posit itself to record the
voice of the ever-marginalized.
Keywords: racism, colonialism, Euro-centrism, Aborigines, anthropology.
24. 2012.
2012.
46
/ , ,

821.163.41-31.09 .
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1 slaki_2210@yahoo.com
47
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.
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.
1974: . , , :
, . II, : , 93-107.
2000: M. Bahtin, Problemi poetike Dostojevskog, prevela Milica Nikoli,

Beograd: Zepter Book World.
1982: . , 1918-1941, : .
1999: M. Lampi, Mali renik tradicionalnih simbola, Beograd: Libretto.
1999: . , : , .
I, : .
2008: L. Fr. H. Svensen, Filozofija straha, preveo Ljubia Raji, Beograd:
Geopoetika.
1988: J. Strikovi, Samoubistvo i apsurd, Beograd: Prosveta.
1980: . Fuko, Istorija ludila u doba klasicizma, prevla Jelena Staki, Beograd:
Nolit.
1998: . , :
1976. , , : .
Slaana Raki / The pictures of death from novel The Sixth Day by Rastko Petrovic
Summary / The author of the paper The pictures of death from novel The Sixth Day
by Rastko Petrovic starts by examining the motive of war and suffering in literature.
Special attension is given to this within Serbian avant-garde literature, to which the
whole literatury work of Petrovic belongs. The author analyses the motive of death
realised, in multiple ways, through pictures of suffering. This is connected with,
and examined by, pictures of murders and suicides. Further studied are the parts of
a victim and of a criminal.
Key words: pictures of suffering, death, murder, suicide, rape, World War I, avant-garde
: 25. 2012.
2012.
72
/ , ,
-1

78.07:929 .
782.1:78.087.68
(
, , 2) , -
XX . ,
,
. -
. , ,
, ,
, .
: , , , , , ,

(: kolo, ,
) , .
, ,
50 ( 12, 15).3
, , .
.
.
, .
,
, . XX . . ,
.
1 stajn22@yahoo.com
2 Piter Grimes, Billy Budd, Oven Wingrave, Gloriana
3 (1985): , ,
, . 248
73
. 4 . , ,
. ,
(Borough) , .
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4 .
5 . (1997): ,
, , 215 216.
6 , (2008): , , , 13 15.
74
/ , ,
. .
, . , a,
, ,
. ,
.

, . , .
, ,
,
.

, . :
: We Julians are too proud to tolerate a
shirker. The poor Wingraves, what is their pride to them now? 7
, : How strange to abandon the dreans of our
childhood: he has been too long away and he reckons without me. Ill not allow
him his treacherous thoughts, he shall not carry out so infamous plan.8
: Therell be no heros welcome,
let him speak first to his ancestors.9 ,
How to face them
all of them, the living and the dead. No one to greet me? Not even Kate?10
(pp) no scream of pain betray their position to the enemy. The
enemy? How strange! Here in my own house I stand an enemy.11 ,
Is there not one of you to help me? You
are all silent but your eyes speak. Turn your eyes away from me. I refuse your
censure. Father, You must understand. I am as resolute as you at Kandahar!12
. ( , ,
) .
I used to love, admire you, how can you betray our ambitions13 .
7 . ,
?
8 : .
, .
9 , .
10 , , . ?
?
11 . ? !
.
12 . , . .
. , . .
13 , - ?
75
An insult to a soldiers daughter, you used to be such a brave little boy, so like
your gallant father 14 , Insulting the family,15
, Theyll turn in their graves. How disappointing after
all your young promise!16
. Well not have shirkers here,
serpent in our mist, unworthy, 17 .
Oh, go away from here I cant bear you, your pooor creature. 18 : I wish I hadnt come. Its horrible! Gruesome, that
poor boy surrounded with these ghouls, the living and the dead. 19
,
.
,
. . ,
,
, ,
.
,
. .
.
,
. . , .
. , , ()
. , :20
When women gossip the result is someone doesnt sleep
:
O, when you shut your eyes, you cant tell the truth from lies
:
when a crowner sits up on it who can dare to fix the guilt?
14 , , .
15 .
16 . .
17 , , .
18 , , , .
19 . ! , ,
.
20 , ... , .
, ?
76
/ , ,
, , , , (staccato)21 , ,
, .

,
. ,
. :
Talk of the Devil and there he is, and a Devil he is, Grimes is waiting for
his apprentice22 ,
. , : Hes
mad or drunk! Whys that man here?
His temeprs up. O chuk him out. He looks as if hes drowned.23
: Boles
is about to bring the bottle down on Peters head. Balstrode knoks it out
of his hand and it crashed on the floor.24
:
Old Joe has gone fishing and Young Joe has gone fishing
and you Know has gone fishing a found them a shoul25
().
.
(O call it hardship danger or plain
murder26), .
.
Ha, ha, ha , 10 .
21 Staccato: ,
.
22 B. Britten, Peter Grimes, op. 33, , 75. ;
".
23 . . ? . , ,
.
24 .
.
25 ,
.
26
77
. ,
(ppp) (fff) .
, , . .
.
, .
, ,
, .

- .
(, )
.
- , .
. :
1.27
.
. . , . ( ),
. : Scylla and Charybdis, the
straits of Hell, of Hell... I sight them too late, too late, I see all the mists, the
mists concealed, all, all Beauty, handsomeness, goodnerss coming to trial. How
can I condemn them? How can I save them? How? How? My hearts broken,
my lifes broken. It is not his trial, it is mine, mine, mine, mine, it is mine, mine,
mine. : it is I whom the Devil awaits!28
27 B. Britten, Billy Budd, op. 50, , II , 70, , 1-3 10-11.

, , . . , ?
28 , , ... , ,
, , , , .
? ? ? ?. , .
, , , , . !
78
/ , ,

mine,29 ,

( ):
2.

. a
. , , .
( ) , ,
( ).
, ,
. : . (oh, what unheard
of brutality. Claggart is lost to us, we must revenge him, The boy has ben provoked, There is no harm in the boy.30
(struck by an angel)31, : yet,
the angel must hang (f) (con forza)32.
29 B. Britten, Billy Budd, op. 50, , II, , 79 2 75 , 12-14

30 . , .
. .
31 .
32 B. Britten, Billy Budd, op. 50, , II, 79, Vere, 2.
.
79
, : But I had
to strike down that Jemmy Legs. Its fate. And Captain Vere has had to strike
me down, fate. Were both in sore trouble, him and me, with great need for
strenghth, and my troubles soon ending, so I cant help him longer with his.
Starry Vere, God bless him, and the clouds darker than night for us both.
Dansker of the Indomitable, help him, all of you.33
Rights O Man, Indomitable
, ,
. 34
3.
To report having boarded the British Merchantman Rights o Man?

homeword bound to Bristol. Three men impressed. No resistance (
). ,
, .
. ,
. .
(off), , , , ,
. (Take your purchase and sway..and sway! and sway!
O heave, o heave away, heave, o heave!35). . .
: Belay hoisting,
deck!,36 : Belay there, dont lose!,
33 , . .
, . , , ,
. , ,
. , , .
34 B. Britten, Billy Budd, op. 50, I, 19, Lieutenant Ratcliffe, 4.
Rights o Man .
. .
35 B. Britten, Billy Budd, op. 50, I, 10, I. ,
... , , , !
36 , !
80
/ , ,
: Make fast to braces! Dont lose! Fall

in forrard!37.
4.
, : Were anchored off Scilly, My aunt willy nilly Was winking at Billy,
Shell cut up her Billy for pie, ili We are off to Savannah, O sing Polly Anna,
My lovely Susanah, A bird flying high in the sly, She is only a bird in the sky.38
, , ,
. . .
, ( )
Blow her away!, , , , Hilo,
Hilo, Blow her to Hilo...39 .
, , ,
Well blow her from the watrer!, :
O God, keep the mist away! . Quick lads,
theres a battle in the wind ,Come on boys, Qick lads.40
. , , Farewell Rights o Man
37 B. Britten, Billy Budd, op. 50, I, 12, Bosun, 4 ( !... ,

... ! ! !)
38 , , , , ,
... , , , ,
.
39 (), , ,
40 ... ... , , ,

. . , , (Vere: Ay, the mist is back to foil
us. The mist creeps in to blind us. Our chase is foolish gentlemaen, our chase is foolish)
(Ay, we lost her. We lost her for good
. , , ,
..., , .. ,
: Theres a man on board whos dangerous, I say again
whos dangerous. . ...
81
Farewell Rights o Man41 (off stage)

Ah! 10 .
() .
Starry Vere,God bless you! .
, .
( ) ur //, purple, Ah!42
Down all hands! And see that they go!

,

.
,
( ) :
.
.
. , ,
:
. ,
.
. , , (Exalted high among
his peers, He may at last more steeply, more steeply fall,43 )
( : So now he has his way, so he goes to his fate.44
, .

. .
, . ( )
41 ,Rights o Man ( )
Rights of Man 1791. (Thomas Paine).
, ,
, . ,
.
.
- (Reflections on the French Revolution, 1790.)
42 , ,
, .
, , ,
. , . ,
, . /:/ a
.
. , , ,
,
(fff)
43 , , .
44 , .
82
/ , ,
: What new from Ireland?, Delay, delay

a sorry farce. We thought by now to see the rebels head, laid at the Queens feet.
Her darling Robin hath betrayed her hopes. The Queen knows more than we,
knows everything.45
? . .
,
Happy, happy, happy were we,46
Happy, , . .
. , . ,
47:
5.
, :
( ): Tyrone is still rebel and Ireland not
yet ours. Not ours but might be Spains. Might easiy be Frances. For want of
forthright action forfeited the chance. And now it is September, Too late for camping. 48
:
49:
Primer 6.
() , . Grean leaves
45 . , . .
. .
. .
46 , , !
47 B. Britten, Gloriana, op. 53, , I, The Second Duet of the Queen and Essex,Eseks,
125, 1-7
48 B. Britten, Gloriana, op. 53, , I, Cecils Report, 130, 1-4.
. , .
. . .
.
49 B. Britten, Gloriana, op. 53, , I, The Queens Decision, Queen, 130,
28-29
83
are we, Red Rose our golden Queen, O crownd among the leaves so green!50,
- .
. ( )
.
.
Now rouse up all the duty. Make Cesil and make Raleigh both shorter by a, by
a head51. (Mere idlers and louts, Out to truble
peace).52 ,
(Save the Queen from
her false advisers) . Hear
the ass braying, braying,53 ,
, 54:
7.
50 , , ,
.
51 , . , !
52 . .
53 !
54 B. Britten, Gloriana, op. 53, , II, 140, 8-18
84
/ , ,
,
, (In mortal
peril they must go), .
(hes right! Hes wrong!). ,
:55
,
. , , , ,
.
. ,
, .
,
: , .
,
, ,
. ,
, . , .
, , .
55 B. Britten, Gloriana, op. 53, , II, 148, 6
85
. : , . ,
,
. . .

, . .
, , . , , , , ,
: ;
, ,
()
.
, II
,
I, : , ;
, .
, , .
(
),
.
.

. , ,

.
86
/ , ,
Literatura
Britten B., (1945): Peter Grimes, op. 33, Klavirski izvod, Boosey & Hawkes, Ltd., USA.
Britten B., (1953): Gloriana, op. 53, Hawkes & Son Ltd., London.
Britten B., (1961): Billy Budd, op. 50, Klavirski dopunjeni izvod, Boosey & Hawkes,
Ltd., USA.
Britten B., (1973): Owen Wingrave, op. 85, Klavirski izvod, Faber Music Limited,
London.
. ., (1997): ,
,
Grove O., (2001): The New Grove Dictionary of Music and Musicians, urednik Senley
Sadie, Izvrni izdava John Tyrrel, Mc Milan, London
Hamburger K. (s.a.): Logika knjievvnosti, prevod Slobodan. Grubai, Nolit,
Beograd
(1985):
, , ,
Kennedy M., (2004): Oxford Concise Dictionary of Music, Oxford University
Press,Oxford.
Kohoutek C., ( 1984 ): Tehnike komponovanja u muzici XX veka, Univerzitet
umetnosti, Beograd.
., (2001):
,
, ()
., (2008): , ,
., (2003): , ,
SUMMARY
In his artistic approach, Benjamin Britten (1913-1974), the greatest 20th century opera
composer, kept to Hellenistic tradition and the role of a choir as an important segment of the drama, specifically opera as a complex scenic form. The paper included
the analysis of treatment of choir either when employed explicitly or symbolically
as well as the circumstances where the choir actively participated in the plot or only
borne witness to its mainstream.
With great respect for his famous predecessor, Henry Purcell (XVII century), Brittan
always returned to the myth. His heroes were Oedipus or Prometheus now in new
robes, named Peter, Owen, or Billy, but behind the outer shell, we find the human
nature, the fight between the good and the evil, Eros and Thanatos, the destiny and
the action. When treating the choir as a representative of masses, Britten assigned
it the positive (Peter Grimes) or the traditional role (Owen Wingrave), following the
mythical pattern of binary oppositions. Either assigning it main or ambient role,
Britten masterly employed choir in his operas, using versatile musical means with
delicate sense of script and form.
Key words: destiny, tragical, choir, individual, myth, temptation, binary opposition
16. 2012.
2012.
87
88
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791.43-293(739.462.5)
.
, ,
. , ,
. ,
.
. ,
, .
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1978: J. Highwater, Dance, A&W Publishers, Inc.: New York
SUMMARY
Dance has always been a part of human everyday life. As time went by its form became
richer and took shape, and with the emergence of film it adjusted to the new medium,
primarily within musical. Throughout the history of film, the theme, purpose and aim
of the musical changed and consequently so did the movements and choreography in
musical numbers. The body was set free, movement and gestures became less precise
and less rigid. The choreographies often seemed improvised. The representation of
body in the Hollywood musical, mainly in the musical numbers, reveals many changes
that took place in society and art. The emergence of modern dance had great impact
on the move and expression and also on the change in perception of the male and
female body and the way they were presented in the musical. Singing and dancing
were not just for fun, but were also used to demonstrate and underline the principle
ideas of the film, which remains the feature of modern musicals.
ey words: dance, Hollywood musical, movement, body, stereotype
26. 2012.
2012.
98
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5 . (2006: 5): Sollte nun also der Fremdsprachenerwerbsprozess eingehender in Betracht

gezogen werden, lsst sich bei dem Lernvorgang ein unmittelbarer Zusammenhang zwischen dem
Aneignen von Wortbedeutungen und dem Erlernen von syntaktischen Konstruktionen verzeichnen,
d.h. grammatisch-syntaktisches Wissen kann nur auf der Grundlage bzw. im Zusammenhang mit
lexikalischem Bedeutungswissen gelernt werden, kaum aber unabhngig von der Lexik. Der Lernende
eignet sich neue Wortlexeme und ihre kombinatorischen Potenzen [an] und kann sie dann identischen
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hat.
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beider Wissensschtze ausgerichtet ist, erleichtert eine Identifizierung der Bedeutungen, desgleichen
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. ( ) , () Konstruktionen und verhilft zur Systematisierung des erworbenen fremdsprachlichen Wissens. Er
beruht nmlich auf einem ausschlaggebenden Prinzip, welches besagt, vergleichbare Bedeutungen
wollen hnlich konstruiert sein, d.h. sie gehren in komparable syntaktische Konstruktionsmodelle,
weil sie gleiche Valenzeigenschaften aufweisen. Mit anderen Worten tendieren die sinnverwandten
Verben, vornehmlich durch Analogiebildung, zu gleichen Satzbauplnen, was als eine echte Lernhilfe
befunden wird, von der dann im Unterricht Gebrauch gemacht werden sollte.
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.
107
, [Dik, Simon C.] (1989). The Theory of Functional Grammar (Part I: The
Structure of the Clause). Dordrecht: Foris Publications.
, [Magorzata ytyska] (2006). Logische Prdikate und
die Satzstruktur. Synonyme Verben und ihre Valenz. Deutsche Grammatik im
europischen Dialog. Krakau. ( : http://www2.rz.hu-berlin.
de/linguistik/institut /syntax/krakau2006/beitraege/zytynska.pdf)
, - & [Sommerfeldt, Karl-Ernst & Herbert
Schreiber] (1996). Wrterbuch der Valenz etymologisch verwandter Wrter. Tbingen:
Max Niemeyer Verlag.
, (32008). . : XX .
, (2008). . :
.
-, [Elbieta Pawlikowska-Asendrych] (2006).
Ein Vorschlag zu einem Lexikoneintrag in einem didaktisch-orientierten
Valenzwrterbuch deutscher und polnischer Verben. Deutsche Grammatik im
europischen Dialog. Krakau. ( : http://www2.rz.hu-berlin.
de/linguistik/institut/syntax/ krakau2006/ beitraege/pawlikowska _asendrych.pdf)
, & (1989).
. :
.
, (1992).
. 35/2. : 115-131.
, (1981).
. 23/1-4. : 30-46.
, (2006). .
49/1. : 123-217.
, (1986). .
21. : 1-33.
(2007) (
). : .
, (1988). .
23. : 35-47.
, [Jim Scrivener] (1998). Learning Teaching. A guidebook for English
Language Teachers. Oxford: Macmillan Heinemann.
(2007) (. . ).
: .
, & [Heinemann, Wolfgang & Dieter Viehweger]
(1991). Textlinguistik Eine Einfhrung. Tbingen: Max Niemeyer Verlag.
Dependency Grammar in teaching Serbian as a foreign language
108
/ , ,
Summary
In this work, the author deals with the status and the role of dependency
grammar/theory of valence in teaching Serbian as a foreign language. The author shows that this approach is well suited for teaching foreign languages and that it can be used in the acquisition of Serbian as a second language.
Strahinja Stepanov
: 5. 2012.
2012.
109

371.3::811.163.4136
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123
Milka V. Nikoli/ The application possibilities of linguistic and stylistic approaches in textbooks and teaching in junior primary school
Summary / This paper deals with the methodological aspects of possible applications
of linguistic and stylistic approaches access to textbooks and language teaching junior
primary school. The goal is to reach the appropriate methodological procedures to
be applied in the implementation of linguistic and stylistic access. Among current
textbooks intended for Serbian language teaching in the lower grades of primary
school, in terms of the level and route of administration of linguistic and stylistic
access, separated are the textbooks for fourth year. Significantly, the authors apply
the appropriate style concept. These recommendations should also be kept in the
classroom. The most important step in the methodical conduct classes at whom it is
directed linguistic and stylistic approach - is that students come to the conclusion that:
(1) the language option is available, (2) that the choice is conditioned by the context
or situation. In language teaching approach linguistic and stylistic access should be
combined with functional and stylistic approach. In the last grade of primary education under the age acceptable to the processing of content in languages that require
multiobjective analysis introduce stylistic criteria.
Keywords: linguistic and stylistic approaches, style, language teaching, grammar,
lexicology, junior primary school, methodical process.
: 6. 2012.
2012.
124
/ , ,

811.163.2373.23
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, 5263.
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, 4349.
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1969: Enciklopedijski rjenik lingvistikih naziva, Zagreb: Matica hrvatska.
II 1972: Petar Skok, Etimologijski rjenik hrvatskoga ili srpskoga jezika, knj. 2,
Zagreb: Jugoslavenska akademija znanosti i umjetnosti.
2004: , , .1,
: .
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XXIII/2, : , 1535.
1979: bdulah kalji, Turcizmi u srpskohrvatskom jeziku, Sarajevo:
Svjetlost.
Bojana Veljovi, Tanja Tanaskovi /
THE NAMES OF BRANDY IN WESTERN LEPENICA
This paper analyzes the vocabulary of traditional culture belonging to a lexical field
names for brandy. Material was collected on speaking western Lepenica which belongs
to dialect of umadija and Vojvodina. The vocabulary is semantically analyzed and
generational level, trying to spot development trends of this lexical microsystems and
determine areal distribution of some of the constituent mechanisms.
145

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1 elentsche@yahoo.com
2 178014 ,
.
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giornale juornal ( 1983: 17).
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623-639.
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Jelena Spasi: DEVELOPMENT OF PRESS IN THE WORLD AND IN SERBIA
Summary / The paper presents the main facts related to the development of press
in the world and in our country. It gives a comprehensive study of the topic and a
breakdown of basic terms and facts given in literature about this subject up to now.
The aim of the paper is to show the genesis and development of the journalistic genres
under the influence of different extralinguistic factors. At the same time, the paper
points out a fact that roots of many characteristics of temporary journalism date back
to the time of the first newspapers.
Key words: press, journalistic expression, historical development
: 9. 2012.
2012.
156
/ , ,

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1 lolamontirez@gmail.com
157
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168
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1971: . , ,
, : .
200: . , , : .
1993: . ,
, : .
1985: D. Bordwell, Narration in the Fiction Film, University of Wisconsin
Press.
1999: . , , :
- , 2/3, 37-38.
2004: . , , : - ,
1, 5-16.
2006: . , , . ,
, : K, 291-303.
1988: . , , : .
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, 2/3, 19-41.
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, . , <www.razlikadifferance.com/Razlika%2034/RD3-Mulvey.pdf >, (05.08.2007).
2008: . ,
: , , : .
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1971: . , 1, 2, 3, 4, :
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2004: . , , ,
: , 387-400.
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, : - , 2/3, 101-122.
1978: . , , : .
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1987: . , , ,
: , , . 5-6, , 22-43.
1996: . , ,
, : , 167.
Aleksandra Milovanovi / From Perception to Reception of Film Image: Aesthetical and Psychological Model
Summary / The starting point of this paper is the fact that each field seen on the
screen as present is counterbalanced with its echo absent field, outside of the boundaries of the frame that the spectator can only sew, fill in or stitch (film suture) to the
existing one, which is called off-screen space or imaginary field of the film picture. Due
to this fact the action taking place beyond the boundaries of the silver screen, the
one that is not seen, can be a lot more exciting than the visible one. One of the basic
presumptions of this paper is that the imaginary field of the film picture, i.e. the offscreen space is always present, even without its visual, sound or narrative indication,
because of its receptive and aesthetic models of operation. These models condition
viewers to constantly recapitulate the events they have seen and heard during the
169
film thus creating a mosaic of information and looking for their narrative, aesthetic
of psychological connections. This process is influenced by the look of film spectator
which starts complex processes of perception and aperception which are an integral
part of the reception process, which then initiates the process of reading and interpreting film, but also the pocess of aesthetical knowledge and cultural heritage.
That is way this paper analyzes possible models of construction of the film image on
the levels of perception, aperception and reception.
Key words / film space within the frame, film space outside of the frame (off-screen
space), perception, aperception, reception, the look, point of view, aesthetics and
psychology of reception
8. 2012.
2012.
170
/ , ,

821.111(73)-31.09 .
. 1
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(a skiff), (Hemingway 1967:5).
1 srpsko_dnf@yahoo.com
2 , , , ,
, 26. 2010,
.
171
,
,
(a type of small boat In American usage, the term is used to apply to
small sea-going fishing boats, , : 2011). , - , , ,
, , ,
, .
, . ,
, , ,
; , , ,
1951. (, 175) , (Joe DiMaggio) ,
, , ,
. ,
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.
, : : (he was rowing
steadily, 21) ,
(The sail was patched with flour sacks, 5, see also p. 70),
, (drawing steadily, 71). , , ,
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, (88).
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. ,
( , , 40 , , , ) ,
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. , , (. marlin)
: , , 750 , ! , . (
: over fifteen hundred pounds maybe much more, 70.)
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4 , (2011): Marlin are rarely table fare, appearing mostly in fine restaurants.
Most modern sport fishermen release marlin after unhooking. However, the fisherman in Ernest
Hemingways novella The Old Man and the Sea was described as having caught an 18-foot (5.5 m)
marlin to sell its meat.
174
/ , ,
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: , , , Lipar / Journal of Literature, Language, Art and Culture
175
( )
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they search for me? Of course. With coast guard and with planes., 90).
,
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176
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, .
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, ; .
;
, , ,
, .

2008: H. Bloom, Ernest Hemingways The Old Man and the Sea, Blooms Modern
Critical Interpretations, new edition. New York: Infobase Publishing.
, : <http://en.wikipedia.org/wiki/Marlin>
2011
, : <http://en.wikipedia.org/wiki/Skiff> 2011
.
.
178
/ , ,
2000: . , , . :
.
1974: . , . :
- .
1967: E. Hemingway, The Old Man and the Sea. London: Heineman
Educational Books.
1996: . , , .
: .
Aleksandar B. Nedeljkovi / What Did the Old Man Santiago Actually Plan to Do
at Sea off Cuba
Summary / Hemingways novella The Old Man and the Sea ought to be re-considered
from a purely practical standpoint, as an economic fishing project. We applied the
kind of strictness which we usually apply in the studies of another genre, science
fiction: we demanded the same high level of plausibility and logical coherence. But
Hemingways famous story did not endure such high criteria of quality. Here is why.
The protagonist, old Santiago, is a professional fisherman, so his job is, simply, to
catch fish and sell them as meat, for the markets in Cuba. We are told that for 84
days he did not catch anything at all, not a single fish, so his economic situation
was very bad indeed, he was in deep poverty. It would stand to reason that he would
want to catch some fish, any fish, and then return quickly to sell it. Then he happens to catch a huge fish, a 750-kilo marlin, about five and a half meters long, which
could not possibly have fit inside his small boat (a skiff). This fish is about ten times
heavier than Santiago, and much heavier than Santiago and the skiff together. He
persists in the unreasonable, foolhardy task of overpowering the marlin. When he,
quite improbably, does overpower the marlin, he lets it stay plump in the water, to
be eaten by sharks. Definitely he could have carved four 25-kilogram chunks of best
meat, and hurried home, but, instead, he attaches the fish to the outside of his skiff,
and, in consequence, returns very slowly, so that the sharks have time to eat all the
meat. But, previously, he did catch a dolphin, which, science tells us, could not have
been of less than 40 kilo weight, and kills him; but instead of keeping this excellent
catch, and hurrying back with it, he merely eats a few bites of dolphins very good
meet, but raw, and without salt, and then throws him back into the water! So we
really must ask ourselves what his business plan, with which he sailed out from a
small fishing village Kohimar near Havana, was. Why did he not cut the line with the
marlin, and return immediately, triumphantly, with the dolphin in his skiff? His plan
must have been quite something else. But, it is incredible that whole generations of
critics did not notice this. They should have been able to see through the authors
rather obvious narrative strategies. For us, only one possible conclusion remains,
about Santiagos motives.
Key words: Ernest Hemingway, Old Man and the Sea, business plan
24. 2012.
2012.
179

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1964: I.Andri, Travnika hronika. Zagreb.
2005: R.Etkinson, Nova diktatura Evrope, ugnjetavanje i vaskrs
demokratskih nacija. Beograd.
2010: N.Filipovi, Nikad kraja razmiljanjima o proitanom Ivi Andriu.
www.skibyusa.com
Fontane 1989: T. Fontane, Effi Briest. Stuttgart.
Frhnachrichten, Lajpcig ,2011.
2010: D. Goleman, Destruktivne emocije i kako ih moemo prevazii. Beograd.
2011: ., . : .
2009: M. Stankovi, Trans-Balkanique-Express. Album Ganc novi Funk!
Beograd, 2009.
2010: D. Tanaskovi, Neoosmanizam. Doktrina i spoljnopolitika praksa.
Beograd.
2010: K. Zuki, ta je trulo kod Ive Andria. Skrivena disertacija: ta je sve
pogreno a ta nije nikako napisano u disertaciji. SAFF Onlajn Magazin Islamske
Omladine
Maa Polilo
Zusammenfassung / Die Arbeit kam innerhalb des Seminars Kulturelle Diplomatie
geleitet von Prof.Dr.Aleksandar Petrovi zustande. Einerseits ist es ein Hommag
an Andris literarisches Schaffen vom kulturdiplomatischen Aspekt aus. Es wurde
auch komperative Methode bentzt, um verschiedene Aspekte des kulturdiplomatischen Ttigkeit verschiedener Autoren besser darstellen zu knnen. Es wird auch
ein inovativer Zugang auf dem Gebiet der Andris Forschung vertreten, da sich die
Arbeit mit der Analyse zeitgenssischer Texte beschftigt und nicht auf den bis jetzt
vorhandenen Kritiken und Theorien basiert.
: 25. 2012.
2012.
188
/ , ,

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Glasse, Cyril: Enciklopedija islama, Sarajevo 2006.
Haki Erzurumija, Hadreti Ibrahim: Marifet Name, na bosanski preveo i uredio
Ebu Irfane el-Bosni, Rabi Sani 1421 H. 2000.
, : , 2006.
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1973.,
Amela A. Zejnelovi
Summary
Dervish and Death is a novel about a man composed of both good and bad sides. Both
are integrated in his essence. That is why the man is bestowed sense and strength
of will to decide what side he is going to favor, to guide him and his actions and to
define him. It is well known that the Creator made angels (meleka) providing them
with sense, but leaving them without needs (shehvet). It is also known that he created animals with needs but without sense, while the people were provided with both.
Thus, where needs overpower sense the man is worse than an animal, while where the
sense overpowers needs, the man is better than an angel. However, the fight against
needs is not easy at all. In this novel, we realize how difficult and painstaking it is.
Great strength of will and persistence is indispensable, thus making the fight (dzihad)
uppermost. The effort of Ahmet Nurudin is in fact the fight of whole world. The main
character of the novel surrendered, yet there is still a hope for the people worldwide.
: 13. 2012.
2012.
210
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821.133.1.09 .
821.133.1.02
. 1
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4
suivre (je suis) tre (je suis): Je suis semblable lombre,/ Je fuis qui me
poursuit,/ Je suis qui me fuit. (. 1953: 39, ..). ,
: , : !
5
: 1998: . Ruse, Knjievnost baroknog doba u Francuskoj,
Sremski Karlovci-Novi Sad: Izdavaka knjiarnica Zorana Stojanovia.
, .
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Evitons ces excs: laissons lItalie,

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20 , ,
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22 Concetti. Wikipedia. <http://fr.wikipedia.org/wiki/Concetti> 24. 4. 2012, ..
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32 Viens, soleil, viens voir la beaut
Dont le divin clat me dompte,
Et tu fuiras de honte
Davoir moins de clart.
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224
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34 , , , ,
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35 , . style rocaille (233).
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,
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2006: S. Grubai, Aleksandrijski svetionik, Sremski Karlovci-Novi Sad:
Izdavaka knjiarnica Zorana Stojanovia.
2007: M. Zogovi, Barok: knjievna teorija i praksa, Beograd: Narodna
knjiga.
1953: . , , :
.
, 1985: . Lagarde, L. Michard, XVIIe sicle, Paris: Bordas.
1953: J. Rousset, La littrature de lge baroque en France, Paris: Librairie Jos
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1968: J. Rousset, Anthologie de la posie baroque franaise, t.1 & t.2, Paris :
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LAGE ET LE STYLE BAROQUE EN FRANCE: UN COMPTE-RENDU SUR
LETUDE DE JEAN ROUSSET
Rsum
Ce mmoire dans son essence aborde le livre capital de Jean Rousset: La littrature
de lge baroque en France. Jusqu nos jours, ce livre reste ltude la plus complexe, la
plus dtaille et la plus pittoresque quun Franais a jamais rdige sur lesthtique
baroque non seulement dans la littrature mais dans les arts plastiques aussi. En
suivant et en largissant les portes de Rousset, ce compte-rendu traite une srie des
marques baroques qui taient en vigueur sur la scne littraire franaise au XVIe et
XVIIe sicle. Certaines marques, comme par exemple la conception de la mort, vont
resurgir presque inchanges chez les auteurs du XXe sicle. En employant lanalyse
compare des motifs et des thmes rcurrents, on souligne le problme de rception
du style baroque italien, lpoque le plus flamboyant, chez les potes franais. Mme
dans les chefs-doeuvres du classicisme franais, cest--dire chez les grands auteurs du
Grand sicle, on trouve bel et bien des traits baroques. Cest que la tradition baroque
persiste toujours dans son dfi aux rgles strictes et durs que la tradition classique
prtend imposer comme une loi suprme. Au fil des poques, le baroque embrase
linspiration des crivains et le classique la tempre plus ou moins avec succs. Il se
peut que le baroque, au moment donn, affaiblisse, mais il ne disparat jamais et cest
226
/ , ,
un point de vue que ce mmoire soutient. Finalement, il a fallu mettre en question et

relativiser la fois chaque classification des auteurs dits baroques ou classiques
et chaque priodisation ferme des sicles baroques ou classiques. Tout compte
fait, ce mmoire prtend que ces deux rfrences ne reprsentent pas les units fixes,
spares et confrontes entre elles, mais ce ne sont que deux extrmes, deux ples
dune mme entit oscillante et cest le principe mme de lauteur crateur.
Mots-cls: la mtamorphose, linconstance, ltre, le paratre, la mort, la mtaphore,
le baroque, le classique
: 5. 2012.
2012.
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DEMONIC QUALITIES IN THE NOVEL A DROP OF SPANISH BLOOD WRITTEN BY MILOS CRNJANSKI
Summary
The subject of the research in this paper is the transposition of demons through the
figure of a woman in the novel A drop of Spanish blood written by Milos Crnjanski.
Aim of our research is clarifying figures of demons through the figure of a woman
from the neglected novels of the twentieth century, in order to return to the novel,
which has profound metaphysical meaning of human existence. Using the character
encoding of the heroine from the novel A drop of Spanish blood, Lola Montez, we
tried to find a demon figure, which would reveal the identity crisis and the collapse
of the heroine, whose main goal is - true love. During the clarification of the figure of
the heroine, we used the theories of Erot, sex, coitus, so we necessarily entered into
the realm of death. An important segment of the work is comparing the character
Lola Montez with other characters of Crnjanski, which contributed to more valid
encoding of the demon character of the heroine in the novel A drop of Spanish blood.
Keywords: demonism, love, sex, eroticism, death, coitus
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5 :
(Transgender Liberation: A Movement Whose Time Has Come,
Boston: World View Forum, 1992),
(Transgender Warriors: Making History from
Joan of Arc to Dennis Rodman. Boston: Beacon Press, 1996)
: (Trans Liberation: Beyond Pink or
Blue. Beacon Press, 1999).
3 Pojam se odnosi na osobe koje kroz individualni konstrukt identiteta, trajnog i promjenjljivog
karaktera, izraavaju, nijeu i/ili nadilaze drutvenozadane i oblikovane spolne i rodne norme i uloge.
Transrodnom osobom oznaavamo svaku osobu iji je rodni identitet i / ili rodno izraavanje drukije od
tradicionalnih, drutvenodefiniranih rodnih uloga i normi. Transrodnost je pozicija samoidentifikacije
osobe kao muke, enske ili onkraj obje mogunosti koje se ne povezuju s pripisanom rodnou kao ni
s konvencionalnim odreenjima mukog ili enskog roda. Transrodne osobe mogu biti heteroseksualne,
lezbijke, gay ili biseksualne osobe, transvestiti ili queer koje politiku izbora ostvaruju izmeu rodova
kao vlastito htijenje, subverzivni in, kreativnost ili slobodu (Pojmovnik rodne terminologije prema
standardima Europske unije, str. 94, Ured za ravnopravnost spolova Vlade Republike Hrvatske,
Biblioteka ONA, Zagreb, 2007).
4 Virginia Prince (http://en.wikipedia.org/wiki/Virginia_Prince 09. 01. 2012).
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10 http://en.wikipedia.org/wiki/Boys_Dont_Cry_(film)
11 http://tgeu.net/PubAr/Campaigns/0603_P_Gisberta/Documents/Gisb_Press_Ekstrabladet_060419.
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14 http://www.labris.org.rs/egzistencija/transrodne-osobe-nisu-mentalno-obolele.html pristup 06.
01. 2012.
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, , 2006: P. Currah, R. Juang, S. Minter, Transgender rights,

Minneapolis: University of Minnesota Press.
, 2007: J. Gagnon, W. Simon, Sexual Conduct: The Social Origins of
Human Sexuality, Chicago: Aldine.
2000: V. Namaste, Invisible Lives: The Erasure of Transsexual and
Transgendered People, Chicago: University of Chicago Press.
1996: L. Feinberg, Transgender Warriors: Making History from Joan of
Arc to Dennis Rodman, Boston: Beacon Press.
1999: L. Feinberg, Trans Liberation: Beyond Pink or Blue, Boston: Beacon
Press.
15 . . 57/2011
251
1967: R. Calogeras, The Transvestite and His Wife, Los Angeles: Argyle
Books.
Jari, Radovi 2010: V. Jari, N. Radovi, Renik rodne ravnopravnosti, Uprava za
rodnu ravnopravnost, Beograd.
2005: I. M. Young, Pravednost i politika razlike, Zagreb: Naklada Jesenski i
Turk.
2007: D. Valentine, Imagining Transgender: An Ethnography of a
Category, NC: Duke University Press.
http://www.labris.org.rs/egzistencija/transrodne-osobe-nisu-mentalno-obolele.
html pristup 06. 01. 2012.
http://gay-serbia.com/intervju/2006/06-11-10-intervju-sa-vernom-bulohom/
index.jsp pristup 06. 01. 2012.
http://www.thetaskforce.org/reports_and_research pristup 06. 01. 2012.
http://en.wikipedia.org/wiki/Boys_Dont_Cry_(film) pristup 06. 01. 2012.
http://tgeu.net/PubAr/Campaigns/0603_P_Gisberta/Documents/Gisb_Press_
Ekstrabladet_060419.pdf pristup 06. 01. 2012.
http://en.wikipedia.org/wiki/Virginia_Prince pristup 06. 01. 2012.
Tanja Anti
Summary / This paper starts from the fundamental difference between sex and
gender, the deconstruction of sex and gender binary, that is based on the expression
of gender roles has been a definition of the term transgender, starting from its origin
to the various modern forms, the given name and an informative overview concise
explanations. As a result of intolerance and discrimination against transgender people, there is transphobia. Social marginalization of transgendered people resulting
in a wide range of types of violence. In reaction to distinguish the effects of several
rights organization transrdonih people who not only have the self-help groups, but
also affect the different spheres of the public. In the closing section, attention is
directed to statutory provisions of the European Parliament, respecting the decisions
of the World Health Organization, but also to change the law in Serbia. Writing on
this subject the authors modest contribution to the long process of affirmation of
transgender people, which in the 21 Ages at different rates in different areas, more
or less successfully, win and enjoy their human rights.
Keywords: transgender, gender, race, gender role, (transgender) identity(i), transphobia, transgender movement, legislation
: 25. 2012.
2012.
252
/ , ,

821.111-31.09 Wilde O.
HOMOEROTICISM IN OSCAR WILDES THE

PICTURE OF DORIAN GRAY: THREE PERSPECTIVES
Written by the ultimate aesthete, Oscar Wilde, The Picture of Dorian Gray was one of the most
notorious books published in Victorian England. As soon as it was published in 1890, it was met
with harsh criticism of the public. It was considered decadent, because it exhibited elements of
homosexual love and mocked the highest moral values of that time. Although it caused countless
controversies, this novel represented a real refinement of aestheticism, with all its advantages
and flaws. Using the method of analytical and synthetic approach, this paper analyzes each of
the three main characters and their contemplation of the philosophy they had chosen to live
by, aiming to show three different points of view of aestheticism. Lord Henry is the speaker in
the novel. He expounds to Dorian the philosophy of aestheticism which appeals to the young,
beautiful man, but he has never actually done any of the things he has inspired Dorian to do.
Dorian becomes a fallen aesthete, because he distorts this philosophy, causing pain to anyone who
accompanied him. Basil acquires the status of spokesman of standard morality. He introduces
the novel as the creator of the painting and concludes it as a victim of his own masterpiece.In
the end I made a conclusion that the novel cannot be considered immoral, because all three
main characters have been punished for exaggerating in aestheticism and its doctrine.
Keywords: Aestheticism, Art, Beauty, Wilde
INTRODUCTION
Art in the Victorian Era was considered to be a tool for education,
social interactions, and moral enlightenment, but not a thing that was to be
enjoyed merely for the sake of enjoyment. In the late 19th century, a group
of people formed what came to be known as the Aestheticism Movement,
which sought to release art from the responsibilities of having to be an
educational and moral tool (Aestheticism, Wikipedia). Aestheticism placed
a very high estimation on beauty. It was both literary and social movement,
which was ambiguous since its followers differed in the way in which they
viewed art and its connection to life. What aesthetes sought to disprove
was the idea that a work of art should serve some higher moral purpose
(Aestheticism, Wikipedia). To the aesthetic movement, art should not be
educational, but should aspire to provide sensuous fulfillment for the
individual.
1 jejavlada@gmail.com
253
Prominent among these aesthetes was Oscar Wilde. In his novel

The Picture of Dorian Gray Wilde exemplified his contemplation of
aestheticism through his characters experiences with the soul, their
various pursuits of pleasure, and their opinions of art. Walter Pater
(1839-94), who greatly influenced Wilde, agreed that the goal of
aesthetic contemplation was not to learn lessons, but to stimulate the
desire for beauty and the love of art for arts sake (Aestheticism,
Wikipedia). At the heart of the aesthetic movement was the belief
that art should not have any purpose (didactic, political or moral)
other than to be beautiful (Aestheticism (Art Movement), Britannica
Online Encyclopedia). Oscar Wilde stood by this view very strongly.
British aestheticism, largely associated with the circle of Oscar
Wilde, usually carries the connotation of decadence (Aestheticism,
Wikipedia). Aestheticism in England can be defined as anti-Victorian.
In Victorian society the accent was on traditional and conventional
parameters. It turned out to be the artistic expression of dislike for
the predominating values such as puritan morality, pure materialism
and utilitarian spirit which inhibited individual development. They
worshipped Keats. His formula beauty is the truth, truth is beauty
(Keats, Ode on a Grecian Urn) became their way of living. Aesthetes
were striving to turn life into art, and art into life. Paunovic says
that Oscar Wilde himself admitted that he had pushed the limits to
the furthest by saying that he had put all his genius into his life and
only his talent into his work (Paunovic, 2006: 76). Wildes idea was
that art should not imitate life, but should provide a model that was
superior to the phenomena that life was. In that way, aesthetes made
references to Greek and Renaissance civilizations which tolerated
and even encouraged homosexual behaviour. Joseph Carroll sees
aestheticism and homoeroticism to be extensions of each other
(Carroll 2010).
In The Picture of Dorian Gray, we can see three men, young
Dorian Gray, a painter Basil Hallward and Lord Henry Wotton, who
believe in the same philosophy of aestheticism, but whose acting differs much, because they contemplate the same thing in three different ways. Matsuoka claims in Aestheticism and Social Anxiety in The
Picture of Dorian Gray (Matsuoka 2003: 81) that Wilde considered
Basil to be the best representative of his own vision of himself. In
order to prove this he quotes Wildes letter from February 12th 1894:
Basil Hallward is what I think I am: Lord Henry what the world
thinks of me: Dorian what I would like to be in other ages perhaps
(Holand and Hart-Davis 2000: 585). The philosophy of aestheticism
254
/ , ,
in the novel will be analyzed through its three main characters, their
behaviour, their beliefs and their willingness to live according to the
principles of aestheticism.
HOMOEROTIC ASPECT OF AESTHETICISM
Three main characters in The Picture of Dorian Gray represent three
different approaches to aestheticism. As there are no many characters in
the story, almost the entire plot revolves around Dorian Gray, Lord Henry
Wotton and Basil Hallward, the artist.
The novel opens with the lively conversation between Basil Hallward
and Lord Henry Wotton on the painters portrait of Dorian Gray. Basil feels
he cannot exhibit the portrait because of his anxiety over having put too
much of himself into it.
Too much of yourself in it! Upon my word, Basil, I didnt know you
were so vain; and I really cant see any resemblance between you
Why, my dear Basil, he is Narcissus, and you well, of course you
have an intellectual expression, and all that. [] Dont flatter yourself,
Basil: you are not in the least like him. (Wilde 2004: 9)
Muriqi in Homoerotic Codes in The Picture of Dorian Gray claims that
Lord Henry does not understand that Basils admiration is not only the
artistic one, but is more personal and emotionally charged (Muriqi 2007:
5). On one hand Basil claims that
every portrait that is painted with feeling is a portrait of the artist, not the sitter. The sitter is merely the accident, the occasion. It
is not he who is revealed by the painter; it is rather the painter who,
on the coloured canvas, reveals himself. The reason I will not exhibit
the picture is that I am afraid that I have shown in it the secret of my
own soul. (Wilde 2004: 12)
On the other hand, Basil says that Dorian is simply a motive in

art, but a couple of lines later he says he cannot show the world his
heart and his soul because the painting contains something more
than abstract art. Muriqi draws attention to the language and points
out that in this passage it is very suggestive and despite attempts to
let aestheticism be the only subject at hand, the homoerotic feelings
of the painter Basil are clear and unmistakable (Muriqi 2007: 5). I
would agree because he describes his first meeting with Dorian in
very passionate tone:
255
Suddenly, I found myself face to face with the young man whose
personality had so strangely stirred me. We were quite close, almost
touching. Our eyes met again. It was reckless of me, but I asked Lady
Brandon to introduce me to him. Perhaps it was not so reckless, after
all. It was inevitable. Dorian told me so afterwards. He, too, felt that
we were destined to know each other. (Wilde 2004: 13)
Being overwhelmed by Dorian, Basil is afraid that his personality
would absorb his whole nature, his whole soul, his very art itself. The
impression young Dorian made on the painter is very indicative.
When our eyes met, I felt that I was growing pale. A curious sensation of terror came over me. I knew I had come face to face with
someone whose mere personality was so fascinating that, if I allowed
it to do so, it would absorb my whole nature, my whole soul, my very
art itself. (Wilde 2004: 12)
As he is an artist, this reaction of his can be fascination for an artistic
object. But Muriqi is right when she says that these are very strong
feelings of one man towards another (Muriqi 2007: 12). If we know that
aesthetes tolerated and maybe even encouraged homosexual behaviour,
Basils reaction may be seen as physical attraction. The fear he shows can
be the fear of being exposed as a homosexual. In Victorian England the
notion of homosexual love was treated with suspicion and contempt. What
is apparent about Basils life after having met Dorian is that it is embedded
in secrecy (Muriqi 2007: 13). Secrecy plays a big part in Basils life, so it
is a clear indication that something improper is going on. According to
Muriqi, Wilde creates a world of mystery which makes us question the
supposedly straight relationships (Muriqi 2007: 13).
On the other hand, if we say that Basils feelings for Dorian confuse
him, we can also say that Dorian is even more confused, especially by his
feelings towards Lord Henry. When Lord Henry found Dorian by himself
in the garden, he
came close to him, and put his hand upon his shoulder [] the
lad startled and drew back [] There was a look of fear in his eyes,
such as people have when they are suddenly awakened [] You are
a wonderful creation. You know more than you think you know, just
as you know less than you want to know. (Wilde 2004: 24)
Dorian has discovered something new to him, something frightening.
He still does not understand why Lord Henry has this effect on him. When
Lord Henry touches him, it reveals to Dorian that touch of the stranger
makes him realize something about himself (Muriqi 2007: 14). But being
aware that that kind of behaviour is unacceptable in Victorian England,
256
/ , ,
Lord Henry warns Dorian that men are not able to live their lives as they
want to, that the terror of society, which is the basis of morals, the terror
of God, which is the secret of religion these are the two things that govern
us (Wilde 2004: 22).
NEW AESTHETE IS BORN UNDER THE INFLUENCE
OF LORD HENRY
The influence Lord Henry has on Dorian is even more powerful than
the influence Dorian has on Basil. We can say that if the acquaintance with
Dorian is turning point for Basils art, the acquaintance with Lord Henry is
turning point for Dorians life.
When we first see Dorian, he is a young, naive boy. Although a man
of stunning beauty, he is still inexperienced. Being tabula rasa, he is the
perfect prey. I would agree with Matsuoka, who says that Dorian becomes
a social guinea-pig (Matsuoka 2007: 87) for the manipulative and
charismatic Lord Henry. As a representative of aestheticism he encourages
him to experience his life fully:
We are punished for our refusals. Every impulse that we strive to
strange broods in the mind, and poison us. The body sins once, and has
done with its sin, for action is a mode of purification. Nothing remains
then but the recollection of a pleasure, or the luxury of a regret. The
only way to get rid of a temptation is to yield to it. Resist it and your
soul grows sick with longing for the things it has forbidden to itself,
with desire for what its monstrous laws have made monstrous and
unlawful. (Wilde 2004: 22)
We can see that Lord Henry will live his life through Dorian. He
is a perfect subject on which Lord Henry can conduct his experiment,
encouraging him to treat his own life as if it were a work of art. Using his
most powerful tools his words, Lord Henry flatters Dorian. But a couple
of lines later, he warns him his beauty will not last forever:
Some day, when you are old and wrinkled and ugly, when thought
has seared your forehead with its lines, and passion branded your lips
with its hideous fires, you will feel it, you will feel it terribly [] Yes,
Mr. Gray, the gods have been good to you. But what the gods give, they
quickly take away [...] Time is jealous of you, and wars against your
lilies and your roses. You will become sallow, and hollow-cheeked,
and dull-eyed. You will suffer horribly. (Wilde 2004: 25)
These words make such impression on Dorian that he exclaims the
fatal wish:
257
sad it is! I shall grow old, and horrible, and dreadful. But this picture
will remain always young. It will never be older than this particular
day of June If it were only the other way! If it were I who was to
be always young, and the picture that was to grow old! For that for
that would give everything! Yes, there is nothing in the whole world
I would not give! I would give my soul for that! (Wilde 2004: 28)
This is the crucial moment in the novel. As Epifanio claims it
functions as the germ of the plot; it impels episodes and invents details of
the scene, description, and summary (Epifanio 1967: 51). An aesthete is
born. Dorian starts to seek the pleasure and satisfaction of the senses. On
the other hand I would agree with Matsuoka that what is often overlooked
is the fact that Wilde raises the theme of personal moral choice in the
novel (Matsuoka 2003: 91). Although doomed by what Lord Henry said
about the search for beauty being the real secret of life (Wilde 2004: 47),
his curiosity prevails. He makes a choice to give in to temptation and live
decadent life. His choice is not to let Basil influence him, but Lord Henry:
Perhaps you better write to him. I dont want to see him alone.
He says things that annoy me. He gives me good advice.2 (Wilde
2004: 57)
MAKING A CHOICE BETWEEN LOVE AND ART

Matsuoka claims that the relationship with Sybil Vane, young
actress, is the touchstone of Lord Henrys baneful influence on Dorian
(Matsuoka 2003: 92). It is true, because he chooses art rather than love.
When he first discovers Sybil Vane, he returns to the theatre night after
night, just to watch her astonishing performances. He thinks he is in love
with her, and actually he is in love with her acting. Sibyl as an individual
is of no importance to Dorian as an aesthete. She interests him just as an
artist. After Lord Henry tries to warn him of this, Dorian refuses to take
into consideration the real meaning of his words:
How horrid you are! She is all the great heroines of the world in
one. She is more than an individual. You laugh, but I tell you she has
genius. I love her, and I must make her love me. You, who know all
the secrets of life, tell me how to charm Sibyl Vane to love me! I want
to make Romeo jealous. I want the dead lovers of the world to hear
our laughter, and grow sad. (Wilde 2004: 52)
2 Dorians conversation with Lord Henry about Basil
258
/ , ,
But, although she is an actress, she refuses to live her life through
acting. In that moment she loses her talent, or to be precise, she loses the
interest in her talent. Since she does not believe in any of her characters,
her acting was a disaster. She was a complete failure (Wilde 2004: 76).
Seeing Dorian utterly disappointed, Lord Henry and Basil try to
comfort him saying that she might be ill. But Dorian is aware of her change:
I wish she were ill, but she seems to me to be simply callous and
cold. She was entirely altered. Last night she was a great artist.
This evening she is merely a commonplace mediocre actress.
(Wilde 2004: 76-77)
Even Basil, for whom the art is everything, and for whom Dorian
is an ideal of art, understands that love should be something of greater
importance. Between love and art he chooses love:
Dont talk like that about anyone you love, Dorian. Love is a more
wonderful thing than Art. (Wilde 2004: 77)
But a distorted aesthete, what Dorian is to become, does not share
the same opinion. Since art is everything to him, Sibyl is worthless without
her talent. Gillespie is right when claims that Dorians acceptance of this
ethical system develops over the course of the novel (Gillespie 1994: 148).
Lord Henry tries to comfort him too, throwing the light on one of the
very important aesthetic values. She may have lost her talent, but she is
beautiful, and it is quite enough for Lord Henry:
Come to the club with Basil and myself. We will smoke cigarettes and
drink to the beauty of Sibyl Vane. She is beautiful. What more can
you want? (Wilde 2004: 77)
But, he is comfortless. Her destiny is sealed. The moment she
decided her love was more important than her acting, was the moment
when Dorian rejected her.
Yes, you have killed my love. You used to stir my imagination. Now
you dont even stir my curiosity. You simply produce no effect. I loved
you because you were marvelous, because you had genius and intellect,
because you realized the dreams of great poets and gave shape and
substance to the shadows of art. You have thrown it all away. [] What
are you now? A third-rate actress with a pretty face. (Wilde 2004: 79)
259
He is unable to see and understand how deep and sincere her love
is, that she is willing to sacrifice all she has - her art, for his love. Brokenhearted and disappointed in life, she commits suicide. Dorian claims his
first victim and the corruption of his soul is inevitable. The first flaw can
be seen on the portrait, which is to become a visible emblem of his soul
(Wilde 2004: 83) in the future. This is the moment when his body and soul
start to develop apart. Not his body and face, but the portrait will bear the
burden of his corrupted soul.
The death of Sibyl Vane is important for us because we can analyze
three different reactions of the three aesthetes. At first, Dorian was dazed
with horror (Wilde 2004: 88), but that lasted for a very short period of
time. Under the influence of Lord Henry, he started to contemplate her
death from a new perspective. According to Gillespie as he becomes more
involved in New Hedonism, its tenets become more obvious (Gillespie
1994: 148).
When he thought of her, it would become a wonderful tragic figure
sent on the worlds stage to show the supreme reality of love. A wonderful tragic figure? Tears came to his eyes as he remembered her
childlike look and winsome fanciful ways and shy tremulous grace.
He brushed them away hastily, and looked again in the picture.
He felt that the time had really come for making his choice. Or had
his choice already been made? Yes, life had decided that for him
life, and his own infinite curiosity about life. Eternal youth, infinite
passion, pleasures subtle and secret, wild joys and wilder sins he
was to have all these things. The portrait was to bear the burden of
his shame: that was all. (Wilde 2004: 94)
We see Dorian in a moment of irresolution before he understands the fact
that his private ethics run counter to the public morals of Victorian society
(Gillespie 1994: 149).
Within a short time, however, Dorian makes a firm decision not to
suffer any more. When Basil calls upon to convey his condolences, we can
see the contrast between Dorians and Basils reaction to her death. Basil
seems to be broken hearted. He asks about Sibyls mother, and after he
finds out that, instead of going to see her, Dorian went to the Opera, he is
in shock. Gillespie is right claiming that Dorian contemplates Sibyls death
from a purely New Hedonistic perspective (Gillespie 1994: 149):
As a rule, people who act lead the most commonplace lives. They are
good husbands, or faithful wives, or something tedious. You know what
I mean middle class virtue, and all that kind of thing. How different
Sibyl was! She lived her finest tragedy. (Wilde 2004: 97)
260
/ , ,
Basil is bewildered. But, being unable to think of his muse as of

a bad person, he fails to see how deeply Dorian is changed. He cannot
separate Dorians beauty from his soul. He cannot accept the fact that such
a beautiful man can be evil. What a high price he is going to pay for this
misjudgment!
ACTIVE AND PASSIVE APPROACH TO AESTHETICISM
Gillespie notices that after Sibyl Vanes death, Dorian seems to
become increasingly inured to the liberating views of this alternative
ethical system. (Gillespie, 1994: 149) He, like Lord Henry, also subscribes
to New Hedonism, but we can see the differences in the way they behave.
Lord Henry, Dorians tempter and mentor is involved in nothing more than
talking. He is an artist with words. Knowing the power of the words, he
sends the yellow book to Dorian.
It was a novel without a plot, and with only one character, being,
indeed, simply a psychological study of a certain young Parisian, who
spent his life trying to realize in the nineteen century all the passions
and modes of thought that belonged to every century except his own,
and to sum up, as it were, in himself the various moods through which
the world-spirit had ever passed, loving for their mere artificiality
those renunciations that men have unwisely called virtue, as much
as those natural rebellions that wise men still call sin. [] It was the
poisonous book. (Wilde 2004: 111)
Dorian was fascinated. The principles of aestheticism became an
excuse for his decadent life. For years he has lived his life like the character
of the book. The whole book seemed to him to contain the story of his own
life, written before he had lived it (Wilde 2004: 112). The influence of Lord
Henry ends here. Dorian allows the book to dominate and determine his
actions completely. He collects jewels, finery, and art, but these treasures
are means of forgetfulness, modes by which he could escape, for a reason,
from the fear that seemed to him at times to be almost too great to be
borne(Wilde 2004: 123). It is true that his beauty is unchanged, but his
picture disfigures so repulsively, that he cannot bear to look at it. It is the
evidence of his corrupted soul. Although we do not know for sure about the
evil that Dorian has done, we can come to a conclusion about the intensity
of his crimes. The only crime that is clearly shown to us it the killing of
Basil Hallward. Having heard the dreadful rumours about Dorian, he visits
his friend in order to convince himself that the rumours are false. Basil
is a man of principles, and he acts as a sort of moral ballast. Matsuoka is
right claiming that he is an aesthetic moralist. Since he truly believes that
261
corruption of a soul cannot occur without notice, he innocently dismisses

all the rumours as untrue:
I dont believe these rumours at all. At least, I cant believe them
when I see you. Sin is a thing that writes itself across a mans face.
It cannot be concealed. [] But you, Dorian, with your pure, bright,
innocent face, and your marvellous untroubled youth I cant believe
anything against you. (Wilde 2004: 131)
But Basil will soon learn the lesson of his life. He will see what a
serious mistake he has made, tossing a glance on the face of his soul, as
Dorian calls his own portrait:
Christ! What a thing I must have worshipped! It has the eyes of a
devil. [] My God! If it is true, and this is what you have done with
your life, why you must be worse even than those who talk against
you fancy you to be! [] I worshipped you too much. We are both
Punished. (Wilde 2004: 137)
And he will be punished. His muse kills him. He is punished for being
naive. Matsuoka is right when he says that Dorian falls into the worst sort
of escapism, after Basils murder. His meeting with Singleton at the opium
den disturbed him so much that he wanted to escape, even from himself.
Dorians uneasy conscience makes us measure the aesthetic pleasure
and aesthetic danger. He switches the ugly reality of his life by beautiful
unrealities. But, as Matuoka says the beautiful surface Dorian finds so
seductive is what brings him down to the ugly realities (Matsuoka, 2003:
88):
Ugliness that had once been hateful to him because it made things
real, became dear to him now for that very reason. Ugliness was the
one reality. The coarse brawl, the loathsome den, the crude violence
of disordered life, the very vileness of thief and outcast, were more
vivid, in their intense actuality of impression, than all the gracious
shapes of Art, the dreamy shadows of Song. They were what he needed
for forgetfulness. (Wilde 2004: 161)
Being overwhelmed by the weight of his sins Dorian tries to find
the escape, but the painting constantly reminds him. It is a physical
manifestation of his conscience. As he is unable to accept responsibility, he
accuses Lord Henry of poisoning him with the unnamed yellow book that
Lord Henry lent to Dorian after the death of Sybil Vane. Dorian claims that
it was the book that led him astray and caused him to behave improperly:
262
/ , ,
You poisoned me with a book once. I should not forgive that. Harry,
promise me that you will never lend that book to anyone. It does
harm. (Wilde 2004: 188)
This claim is in direct opposition to the beliefs of the aesthetes of the
era, and Lord Henry, in defense of his actions, takes an aesthetic attitude
in the situation:
My dear boy, you are really beginning to moralize As for being poisoned by a book, there is no such thing as that. Art has no influence
upon action. It annihilates the desire to act. It is superbly sterile.
(Wilde 2004: 188)
This statement purports the purity of art as something created
without an intention behind it. Art cannot influence the intents of people.
It was Dorians own decision to explore the doctrine art for arts sake and
related philosophy to its full extent. Unlike him, Lord Henry chose not to
be involved, but to inspire Dorian to act. He admires Dorian for living his
life according the aesthetic doctrine:
I wish I could change place with you, Dorian. The world has cried
out against us both, but it has always worshipped you. It always will
worship you. You are a type of what the age is searching for, and
what it is afraid it has found. I am so glad that you have never done
anything, never carved a statue, or painted a picture, or produced
anything outside yourself! Life has been your art. (Wilde 2004: 187)
But it is easy for Lord Henry to talk like that. Since he has not
committed any sin or crime, he is safeguarded against guilt. Dorian is the
one who has the burden of his sins. In one moment he is willing to share that
burden with his friend. He almost confesses that he killed Basil, but Lord
Henry refuses even to consider that possibility. According to Gillespie Lord
Henry dismisses his friends inchoate efforts to embrace conventional
morality through reformation as nothing more than an attempt to acquire
a previously unknown experience (Gillespie 1994: 151).
Lord Henry, does not want to accept the idea that his friend could
return to a conventional Victorian morality. For an aesthete that would be
a complete failure of the philosophy of aestheticism. But Dorian is borne
down by the weight of his sins, and is willing to try to be a better person
in future. He is proud of himself for not seducing young Hetty Merton,
thinking that this will change the picture for the better. He returns to the
picture to assess the results of resisting the temptation to seduce her:
The thing was still loathsome more loathsome, if possible, than
before and the scarlet dew that spotted the hand seemed brighter,
263
and more like blood newly spilt. Then he trembled. Had it been merely
vanity that had made him do his one good deed? Or the desire for a
new sensation, as Lord Henry had hinted, with his mocking laugh?
(Wilde 2004: 191)
He realizes that he does not want to confess his sins. It is better to
destroy the only evidence the painting of his soul than face up to his own
corruption. The corruption he tries to destroy is, in fact, himself, and by
killing it, he kills himself. When he takes a stab at the portrait, the portrait
returns to its previous condition as a work of art that displays Dorian as
exceptionally beautiful young man. Real Dorian is to be recognized only by
the rings on his fingers:
When they entered they found, hanging upon the wall, a splendid
portrait of their master as they had last seen him, in all the wonder of
his exquisite youth and beauty. Lying on the floor was a dead man, in
evening dress, with a knife in his heart. He was withered, wrinkled,
and loathsome of visage. It was not till they had examined the rings
that they recognized who it was. (Wilde 2004: 192-193)
The punishment finally comes. Everyone could see the real face of
Dorian Gray. All his fears came true.
CONCLUSION
The Picture of Dorian Gray first came to public attention in an
American periodical, Lippincotts Monthly Magazine, on June 20th, 1890. As
soon as the novel appeared the rival British journals condemned it. Samuel
Henry Jeyes (1857-1911) expressed his condemnation by claiming that
The picture does change: the original doesnt Theophile Gautier
could have made it romantic, entrancing, beautiful. Mr. Stevenson
could have made it convincing, humorous, pathetic It has been reserved for Mr. Oscar Wilde to make it dull and nasty. The promising
youth plunged into every kind of mean depravity, and ends in being
cut by fast women and vicious men. He finishes with murder: The
New Voluptuousness always leads up to blood-shedding that is part
of the cant. (Jeyes 2010)
This one, and some more reviews inspired Wilde to respond in the
form of a lengthy letter dated June 30th published in the Daily Chronicle
on July 2nd in which he says that the real moral of the story is that all
excess, as well as renunciation, brings its own punishment and that moral
realizes itself purely in the lives of individuals and so becomes simply
264
/ , ,
a dramatic element in a work of art, and not the object of the work of
art itself (Beckson 1907: 72). It may be concluded that The Picture of
Dorian Gray is the tragedy of aestheticism and the aesthetic novel par
excellence, not in espousing the doctrine, but in exhibiting its dangers
(Ellman 1982: 297). Three main characters that we could analyze in the
novel are punished for exaggerating with aestheticism and its doctrine.
We can see three different approaches to the philosophy of aestheticism.
Each of them signifies a different aspect of aestheticism. Dorians wish
functions as the germ of the plot; it impels episodes and invents details of
scene, description, and summary (Epifanio 1967: 51). Lord Henry is the
speaker in the novel. He expounds to Dorian philosophy of aestheticism
which appeals to the young, beautiful man, but he has never actually done
any of the things he has inspired Dorian to do. Dorian becomes a fallen
aesthete, because he distorts this philosophy, causing pain to anyone who
accompanied him. Compared with Dorian and Lord Henry, Basil acquires
the status of spokesman of standard morality. His compassion for middle
class distinguishes him from Lord Henrys aristocratic origin and behavior.
He introduces the novel as the creator of the painting and concludes it
as a victim of his own masterpiece. Committing suicide, Dorian meets
the punishment of excessive self-love. Lord Henry does not adopt moral
position of anything, and takes more seriously art than life. His philosophy
is a philosophy of inaction. His ultimate purpose is to contemplate beauty.
Although we notice three different perspectives, we realize that all
three of them were punished. Basil was murdered because he could not
believe that such a beautiful man as Dorian could be evil. Lord Henry was
left by his wife, because she had become tired of not knowing where he
was, and what he was doing. And in the end Dorian was punished for not
being able to separate his life from the art.
Wilde seems to reject the notion of egocentrism and the doctrine
art for arts sake by providing a didactics and aesthetic movement at first
observed, but ultimately rejected in mainstream Victorian art and culture.
The didactic nature of the story can be clearly seen, and the response for
those who pronounced it poisonous and immoral, gave the Wilde himself
in The Preface:
There is no such thing as a moral or an immoral book. Books are well
written, or badly written. That is all. (Wilde 2004: 7)
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Lipar / Journal for Literature,

Language, Art and Culture
Publisher
University of Kragujevac
Published by
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aslav Nikoli
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XIII / 49 / 2012.

aslav Nikoli, Assisstant Professor

Vladimir Polomac, Assisstant Professor

Nikola Bubanja, Assisstant Professor

Jelena Arsenijevi, Assisstant

prof. Persida Lazarevi di Giakomo, PhD

Jelenka Pandurevi, Assisstant Professor

Svetlana Kalezi, Assisstant Professor

Ivan Maji, Assisstant Professor, PhD

Ostap Slavinski, Assisstant Professor

Borjan Janev, Assisstant Professor

prof. Aleksandar Jerkov, PhD

Lipar / Journal of Literature, Language, Art and Culture

Lipar / Journal of Literature, Language, Art and Culture

Lipar / Journal of Literature, Language, Art and Culture

Lipar / Journal of Literature, Language, Art and Culture

Lipar / Journal of Literature, Language, Art and Culture

Lipar / Journal of Literature, Language, Art and Culture

1997: B.Wongar, Raki. London and New York: Marion Boyars.

Karvelas, P. Crusade to save Aboriginal kids from abuse,

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Lipar / Journal of Literature, Language, Art and Culture

Lipar / Journal of Literature, Language, Art and Culture

Lipar / Journal of Literature, Language, Art and Culture

2000: M. Bahtin, Problemi poetike Dostojevskog, prevela Milica Nikoli,

27 B. Britten, Billy Budd, op. 50, , II , 70, , 1-3 10-11.

29 B. Britten, Billy Budd, op. 50, , II, , 79 2 75 , 12-14

To report having boarded the British Merchantman Rights o Man?

: Make fast to braces! Dont lose! Fall

37 B. Britten, Billy Budd, op. 50, I, 12, Bosun, 4 ( !... ,

Farewell Rights o Man41 (off stage)

: What new from Ireland?, Delay, delay

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, , - ballet des artisans, ballet

1987: R. Altman, The American Film Musical, Indiana University Press:

5 . (2006: 5): Sollte nun also der Fremdsprachenerwerbsprozess eingehender in Betracht

8 . (2006: 5): [] Die Erweiterung seiner Grammatikkenntnisse erfolgt, indem er neue

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Lipar / Journal of Literature, Language, Art and Culture

2000: N. Vukovi, Putevi stilistike ideje, PodgoricaNiki: Jasen.

Lipar / Journal of Literature, Language, Art and Culture

Lipar / Journal of Literature, Language, Art and Culture

Lipar / Journal of Literature, Language, Art and Culture

Lipar / Journal of Literature, Language, Art and Culture

Lipar / Journal of Literature, Language, Art and Culture

Lipar / Journal of Literature, Language, Art and Culture

Lipar / Journal of Literature, Language, Art and Culture

Lipar / Journal of Literature, Language, Art and Culture

Lipar / Journal of Literature, Language, Art and Culture

Lipar / Journal of Literature, Language, Art and Culture

Lipar / Journal of Literature, Language, Art and Culture

Lipar / Journal of Literature, Language, Art and Culture

Lipar / Journal of Literature, Language, Art and Culture

Evitons ces excs: laissons lItalie,

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un point de vue que ce mmoire soutient. Finalement, il a fallu mettre en question et

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Chevalier, Gherbrant 2003: J. Chevalier, A. Gheerbrant, , :

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(http://gay-serbia.com/intervju/2006/06-11-10-intervju-sa-vernom-bulohom/index.jsp pristup 06.