Lipar 55

XVI/ 55 / 2014.
Editorial Board
.
- ,

aslav Nikoli, Assistant Professor, PhD

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

.
- ,
Nikola Bubanja, Assistant Professor, PhD


- ,
Jelena Arsenijevi, Assistant, PhD

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

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

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

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

Faculty of Philosophy in Zagreb, Croatia
.

, ,
Ostap Slavinski, Assistant Professor, PhD

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

University of Plovdiv, Plovdiv, Bulgaria

- ,
Editorial assistant
Bojana Veljovi
55

, ,
Journal for Literature, Language, Art and Culture
XV / 55 / 2014
Year XV / Volume 55 / 2014
:
Editors: Lela Vujoevi and aslav Nikoli

University of Kragujevac

20. ............................................................................................. 7
........................ 15
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........................................................................................ 25

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21
2008: 53).

.
Rex,
. , ,
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22
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Ivan M. Kolari / AESTHETIC STANDPOINTS OF ANDREJ MITROVI

Summary / The author of this paper proves and shows that meticulous investigations of contemporary history by Dr Andrej Todorovi also included investigations
of contemporary culture (art, religion, science and philosophy), particularly of contemporary European painting, literature and film. In doing so, Kolari proves that
Andrej Mitrovi is an heir of the classical philosophical and aesthetic standpoints: 1.
He overreaches both historicism and historism, i.e. he believes that history does not
recur, but that only individual historic phenomena are the ones that recur; 2. For him
aesthetics is a science about the beautiful, thus being callistica, not philosophy of
art; 3. A famous historian has no explicitly developed theory, yet he does possess an
implicit theory, i.e. his aesthetic ideal is the unity of beauty and goodness (kalokagathia); and 4. In his interpretation of art, it also manifests non-artistic purposes
(involvement). The author points out that Andrej Mitrovi, by discovering important
meeting points between a historian and an artist, formed an authentic standpoint,
which states that it is not sufficient for the history to be the lifes teacher and that
it is necessary to convert the classic maxim into the direction of existentialism and
involvement, i.e. towards life which is and is supposed to be the historys teacher.
Key words: Andrej Mitrovi, history, historiography, historyosophy, war, fascism,
involvement, the beautiful, art, literature, film
: 18. 2014.
2014.
23

930 .
.
, 1
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1996: 155).

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( 1991: 115. ).
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,

, , . ,
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1 vesna.aleksic@ien.bg.ac.rs
25
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2
Herbert Feis (18931972)
. :
(1960) 1961. .
3
Raymond Poidevin (19282000) ,
, : Le Centre Raymond
Poidevin de recherche dHistoire des Relations internationales (CRHRI).
4
Wolfgang Justin Mommsen (19302004)
(1959); 19. ,
, .
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Fritz Richard Stern (1926)
, Gold and Iron(1977), ,
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6
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Les buts de guerre conomiques de la Premire Guerre mondiale ( ,
27
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18842004 ( 2004),

1989).
7
Modern Banking in the Balkans and West-European Capital in the Nineteenth and Twentieth
Centuries, (dit. Kostas P. Kostis), London, 1999.
28
/ , ,
8.

9.

, , ,
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.
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, 2005. 10

.
,
.

, , , , , ( 2004: 5).
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,
.
, , 8
J SEEMHN (South Eastern
European Monetary History Network) 2006.
. ,
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SEEMHN DCTF (Data Collection Task Force)
19. 20. .
9
(The European Association
for Banking and Financial History EABH) 1990.
,
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10
http://www.nbs.rs/internet/latinica/10/10_2/10_2_1/index.html
29
, (
)
.
, :

, ,

[...] , ,
[...]
[...] , ,
,
( 1996: 159; 242).
1996: . , , , .
1991: . , , .
2004: . , 18821914,, , , .
2007: . , , .
Modern Banking in the Balkans and West-European Capital in the Nineteenth and
Twentieth Centuries, (dit. Kostas P. Kostis), London, 1999.
2004: . , . , 18842004,
.
Vesna S. Aleksi / ANDREJ MITROVI ON THE IMPORTANCE OF
RESEARCHING ECONOMIC HISTORY
In of about the mid-20th century, the first major doubts about historiographys basic
aim and purpose occurred. Due to its extraordinary social importance, a doubt initially
occurred in practice about whether historiography is an instrument of proving or an
instrument of reconsidering historical awareness. The interests in the investigation
of historiography were to a large extent determined by the question whether a society
was sufficiently politically and economically developed. It has actually been shown
that insufficiently strong democratic regimes, ideologies and political movements
seriously impair the investigation of historiography. In such societies the purpose
of studying history had almost exclusively political and ideological aspects, which
caused the investigation to predominantly be in the area of political phenomena.
Key words: economic history, historiography, interdisciplinarity, Andrej Mitrovi
: 22. 2014.
2014.
30
/ , ,

930.1 .

.

.
: , , ,
1986.
(Historikerstreit). ,
, ?,
.
, , .

, .

20. Sonderweg-a.
-

, . ,
,
, .
(Jrgen
Habermas), (Jrgen Kocka), (Hans
Mommsen), (Eberhard Jckel) (Ernst Nolte), (Andreas Hillgruber),
(Klaus Hildebrand), (Joackim Fest)
1 olgasasa@eunet.rs
31
, .

. 20. , .

Die Zeit-a,
Frankfurter Allgemeine Zeitung, , ( 1991).
, ( 1974),
( 1984), (
1987) ( 1981),
.
,

, .
( 1977) 2,

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.

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belle poque, .
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[...] ( 1991: 265),
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( 1991: 230).

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34
/ , ,
,
.
Appleby i dr. 1995: J. Appleby, L. Hunt, M. Jacob, Telling the Truth about History,
Norton Paperback, New York, London
1974: A. , ,
19191939, : .
1977: A. , ,
, : .
1981: A. , , 19081918, : .
1983: A. Mitrovi, Angaovano i lepo, Umetnost u razdoblju svetskih ratova,,
Beograd: Narodna knjiga.
1984: A. , , :
.
1987: A. , 19161918, :
.
1991: A. Mitrovi, Raspravljanja sa Klio, o istoriji, istorijskoj svesti i
istoriografiji, Sarajevo: Svjetlost.
2007: A. Mitrovi, O dravi bojoj i zlom spasenju, Beograd: Arhipelag.
2008: A. Mitrovi, Kultura i istorija, Beograd: Arhipelag.
Olga Manojlovi Pintar / A PRAISE TO THE CULTURE OF THE DIALOGUE: ANDREJ MITROVI AND THE REFLECTIONS ON HISTORY
Summary / This text presents an analysis of Andrej Mitrovis contribution to the
advancement of the theory and methodology of history as a science. It has been
pointed out that there is an enormous abundance of topics and approaches to the
investigation of the past in the works of Andrej Mitrovi and an especially prominent
historical context in which he wrote his theoretical papers.
Key words: historians quarrel, theory of history, historical awareness, historical
culture
: 5. 2014.
2014.
35

930.1 .
. 1
:
2
,
, . .

.
,
.
: , , ,
: 17.
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,
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credo-, :

[...] [] [] []
. []
,
[], ,
( 1992: 15-16). ,

1 mristovic@f.bg.ac.rs
2
, 25. 2013.
37

.

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(1985), 2004. .
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.
6. . , . .
(1998). - ( 1998)
(19992002). sterreichischen Osthefte,
Jahrbuch fr Geschichte und Kultur Sdosteuropas.
2001, 2004. .
1988. .
XX . 2006.
.

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38
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.
, , , , 20. . , , , ,
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.
1969: . ,
19191920, .
1974: . , .
1919-1939, : .
2009: . , , : .
1977: . , . , .
1981: . , Prodor na Balkan 1908-1918. Srbija u planovima
Austro-Ugarske i Nemake 1908-1918. : .
1983: . , Angaovano i lepo. Umetnost u razdoblju svetskih
ratova (19141945) :
1987: . , 19161918, : .
1991: . , Raspravljanje sa Klio. O istoriji, istorijskoj svesti i
istoriografiji. : .
. , . ,
1992.
1996: . , . , : .
1001: . , Klio pred iskuenjima i raspravljanje sa Klio, .
2004: . , 1878-1914. , , , :
43
, 1884-2004, . . , . , . , ,
2004.
Serbias Great War 19141918, London 2007.
Milan Ristovi / ANDREJ MITROVI: PONDERING OVER THE ESSENCE AND
PURPOSE OF A HISTORIANS TASK
Summary / The paper is dedicated to the memory of Prof. Dr. Andrej Mitrovi, his
scientific contribution and pedagogical work, as well as his remarkable contribution
to the history as a science. A. Mitrovi was one of few Serbian scholars who was
highly esteemed even outside Yugoslav and Serbian state and scientific borders. His
pedagogical work has also left great impact on Serbian historiography by introducing a new methodology, opening new topics and extraordinary relationship with the
younger generation of historians.
Key words: history as a science, Faculty of Philosophy, First World War, Serbia.
: 18. 2014.
2014.
44
/ , ,

930.2 .
. 1
,
,
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: , , ,
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,
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2. ,
1 rankagasic@gmail.com
2

: http://www.udi.rs/articles/a_mitr_bibl_06.pdf
45
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1908. , , ( 2014; 2011;
1987; 1975).

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,
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. 2004: V. Dugali i dr, Narodna banka 18842004, Beograd.

1969: A. Mitrovi, Jugoslavija na konferenciji mira 19191920, Beograd.
Mitrovi 1970: A. Mitrovi, Nacistika ideja velikog privrednog prostora i jugoistona
Evropa 1940, u: Zbornik filozofskog fakulteta 111, 709733.
1974: A. Mitrovi, Vreme netrpeljivih: politika istorija velikih drava
Evrope 19191939, Podgorica.
1975: A. Mitrovi, Razgranienje Jugoslavije sa Maarskom i Rumunijom
19191920: prilog prouavanju jugoslovenske politike na konferenciji mira u Parizu,
Novi Sad.
49
1977: A. Mitrovi, Teorija Ergnzungswirtschaft u Vajmarskoj

republici: jugoistona Evropa u doktrini velikog privrednog prostora Nemakog
Rajha 19191932, u: Jugoslovenski istorijski asopis 34, 3382.
1977: A. Mitrovi, Istorijsko u arobnom bregu: pokuaj interdisciplinarnog
ogleda, Beograd.
1983: A. Mitroivi, Angaovano i lepo: umetnost u razdoblju svetskih ratova
19141945, Beograd.
1987: A. Mitrovi, Ustanike borbe u Srbiji 19161918, Beograd.
1991: A. Mitrovi, Raspravljanja sa Klio: o istoriji, istorijskoj svesti i
istoriografiji, Sarajevo.
1996: A. Mitrovi, Propitivanje Klio: ogledi o teorijskom u istoriografiji,
Beograd.
2001: A. Mitrovi, Klio pred iskuenjima i raspravljanja sa Klio, Beograd
2001.
2004: A. Mitrovi, Strane banke u Srbiji 18781914: politika, progres,
evropski okviri, Beograd.
2011: A. Mitroivi, Prodor na Balkan: Srbija u planovima Austro-Ugarske i
Nemake 19081918, Beograd.
2014: A. Mitrovi, Srbija u Prvom svetskom ratu, Beograd.
1880: S. Novakovi, Narodna tradicija i kritika istorija, Beograd.
1998: A. Mitrovi, Vreme destruktivnih: intervjui, priredio Dragan
tavljanin, aak.
Ranka P. Gai / METHODOLOGY OF HISTORY AS A SCIENCE IN THE WORKS
OF ANDREJ MITROVI
Summary / An overview of Andrej Mitrovis work in the area of theory and methodology of history, his contribution to the methodology in the works of the so-called
classic or event history, including his special papers dedicated to history as a science. Also, an overview of Andrej Mitrovis contribution to the important topics in
Serbian and world historiography (First World War, role of foreign capital and banks
in Serbia, creation of Yugoslavia) is presented.
Key words: theory of history, methodology of history as a science, additional economic
space, First World War, Yugoslavia, banks, foreign capital
: 25. 2014.
2014.
50
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821.09 .
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58
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Dusan R. Zivkovic / General aspects of the mission of Andrej Mitrovic in Literary science
Summary / The paper discusses the general aspects of the mission of Andrej Mitrovic
in Literary science. Through analytical-synthetic method, we highlight the following
aspects: 1 the general relations between history and literature, 2. general characteristics that connect different arts; 3. the impact of historical circumstances to the
artistic creation; 4 the influence of art on society. In each of these aspects, Mitrovic
uses four perspectives: 1. explanation of perception in that historical moment. 2. the
modern attitude toward historical perception; 3 cyclical perspective (in the comparison
between different epochs), 4. Universal value and significance of art, the aesthetic
criteria, as well as the question of humanity. This mission remains actual, in contemporary times, we are witnesses not only Man`s and Mitrovic`s understandings
of vulnerable humanity, but this feature of society manifests itself in every moment
of modern existence, and the artistic creative process to the front desk.
The importance of Mitrovics mission in history of science and Literary science consists in the awareness that historical phenomena, and general civilizational processes,
should not be considered in the sole, linear-causal sense, but it should be borne in
mind he simultaneous existence of of different and even seemingly contradictory
causes, in the spirit of ambiguity, cyclicity and transformation, which further branch
into new processes and different outcomes.
Keywords: history, Literary science, interdisciplinarity, socially active, beauteous
: 15. 2014.
2014.
59

811.134.2'373.7
811.163.41'373.7
. 1

-

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jeziku i jezicima, a koja u lingvistikim naukama, [...] nije ni danas jasnih
kontura ( 2004: 50).

,
. (
)
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2004: 73). ,
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(2000, 2005).

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.
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1998, 2000, 2005; 2000, 2003; . 2007;
1998).
. .
() (. equivalencia total)
.
3,
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( 2000, 2005; 2000, 2003).
3
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66
/ , ,

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( , . la oveja negra, . the black sheep;
, . l fin justifica los medios, . the end
justifies the means) ( 2003: 207, 254).
, ,
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, (1982)

( 2001: 66). (2003: 207)
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card; , . lluvia cida, . acid rain).

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/ (sustitucin). o
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( 2003: 265).
,
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: gachar/bajar (. / )
(, , , );
(no) aberle/entrarle (a alguien algo) en la cabeza (. / ( ) ) () / () (
, ); artirse/quebrarse/romperse (alguien) la
cabeza (. ()/() ) /
( , , , , ); no quitar ojo/los ojos (a alguien/de alguien)
(. / ) / /
( /) ( , ()
); omer(se)/devorar con los ojos (a alguien/ algo) (. ()
/ (/)) ()//
(/) / ( , ,
); lavar los ojos (en alguien/algo) (. Lipar / Journal for Literature, Language, Art and Culture
67
/ ) / (
)4.
() (.
equivalencia parcial) , , ,
(, ),
( 2000, 2005; 2000, 2003). ,
, ,

.
(2003: 207)
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( 2003:207). ,
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(cabeza), (ojo) (brazo), (mano)

: de la cabeza a los pies (. )
(, , ); me juego la cabeza (.
) ( , ); meter/esconder la cabeza debajo del ala (. / )
// /
(); tener la cabeza llena de pjaros (. ), tener muchos pjaros en la cabeza (. ), ser cabeza de chorlito (.
/) // ,
/ (, , );
tener la cabeza llena de serrn (. ), no
tener ms que serrn en la cabeza (.
) () () (); n un abrir y
cerrar de ojos (. ) ,
(, ); tener (estar con) sangre en el ojo
(. ), (tener) jo/s inyectado en sangre (.
() / ) //
4
. ;
( 2000: 57).
68
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( , ).
() (. equivalencia nula)

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( 2003: 217, 227).

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( 2006: 106). , ,
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2003).
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(1982) :
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: abeza de turco
(. , , ), oger entre
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(, , de ninguna manera).
(. equivalencia aparent/
falsa),
, .
(. falsos amigos),
69
( )
,
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( )
. [...] [...]
[...] . (
2013: 403404).
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, ) (/) (
, , ); levantar/alzar la cabeza (./ , , ),
levantar/alzar cabeza (./ ,
, ) (/)
/ ( , , ); tener ojos en la espalda (. , ,
, ) ( ,
, ); aerse/carsele de las mano a alguien. (.
/ , , )
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6

L1 L2
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L1 , ,
L2 ( 2000: 376).
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71
3. -

- , (, 2012). , ( / )
, (/ ).
- , .
(, , , , ),
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( 2001: 5152).

.8
( 1987: 37).
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, : , ( 2001:
46).
,
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: , ,
8
/ 1. , 2. , , .
(1969) : , pokret tijela, osobito ruku,
glave, ramena, kojim se poprauje govor, da bi se pojaao ili zamijenio izraz (...); gest odraavaju neku
psihiku reakciju (nervozu, srditost), slue kao znak sporazumijevanja, upozorenja (gesta pristanka,
znaajna g.), opomene iIi pak prate neiji govor, recitaciju, glumu itd. ( 1969, I, 400a).
sposobnost da se izrazom lica i pokretima oituju osjeaji, misli i volja. Mimika je imitativna
kad oponaa tjelesne ili psihike osobine drugih osoba, ili stvaralacka kad izraava duevna stanja
glumljenoga lika. Glavna su sredstva mimikoga izrazavanja miii lica, oi i usta ...; izraajni pokreti
miia lica, kao jedan od oblika iskazivanja ovih ili onih osjeaja - radosti, tuge i sl. Mimiki pokreti vre
se obino nehotino, reflektorno. No mogu se izazvati i voljno, a to ovjeku daje mogunosti da se njima
slui svjesno, u odreene svrhe (mimika glumca i s1.). Mimika je jedan od pomonih naina ljudskoga
sporazumijevanja. Pratei govor, ona pomae njegovoj izraajnosti []. Kao nain izraavanja mimika
ima izrazito simboliku vrijednost, za razliku od gesta koje imaju izrazito metaforiko obiljeje. U
svojoj biti ona je sintetian nain sporazumijevanja, premda moe biti i deskriptivnog karaktera (: 1969, I, 825b).
72
/ , ,
, , .
(-).
, ,
,
,
.
, ,
( 1987: 37).
, , , .
, : .
- ,

: ,
( 2001: 47). , ,
, .
(2001)

:
1) ( ), 2)
, ,
, 3)
4) , , ,
, (),
(). (
2001: 45)
(2012) .
,
(, 2012: 445). , , .
,
(2012: 449)
.
( , , ).
.
( (), ).
( ) , ,

73
- .
/

, ,
: (poner) jos redondos, . ; oner los ojos
en blanco, . ; oner los ojos bizcos, .
; ; / ; (abrir)
ojos como platos, . ; ;
( ); desorbitrsele los ojos (de la rabia) (a alguien), . () ( ), .
4. /ABRIR LOS OJOS
abrir los ojos (.
) , . , .
(DFDEA,
DFEM, /, FRHSJ), , 9,
. ,
,
, ,
.

(DFDEA
abrir los ojos, . ).
abrir los ojos ,
,
.
,
abrir los ojos ( , ).
Cruzar la ennsula de un extremo a otro para entregar su alma en el pueblo
que le vio abrir los ojos. ( ,
.) (DFDEA)
9
CREA ,
, , 200.000 .
(, , , ) ( ),
(, , , , , ) (http://corpus.
rae.es).
74
/ , ,
, .

(DFDEA, DFEM, /, FRHSJ), CREA .
,
, ( ,
, , ).
(Da) ... posle letnjeg odmora, od nedelje zavrne rukave i prione na
posao. ... - im otvorim oi ukljuim sve mogue elektronske ureeje u
kui (...). (novosti.rs 27.07.2012.)
DFDEA abrir (alguien) los ojos (. ()
) ,
, , . /
, , .
,
,
. () ( 2014: 389). ,
.
ulc: EU je Frankentajnovo udovite. (: Hahaha
verovatno je itao komentare ta Srbi misle o EU pa mu se otvorile oi i na
kraju i on realno kae ta je.) (novosti.rs 06.03.2013.)
, brir(alguien) los ojos ,
,
. , :
, , ,
( ).
Los meteorlogos llaman todava perversos a los procesos que escapan a
su prediccin. Bastara que abrieran los ojos a la naturaleza moderna para
aceptar que acaso lo verdaderamente perverso est en la meteorologa.
(
.
.) (DFDEA)
,
. () , ,
(/), :
U elji da svrenim srednjokolcima otvore oi, prue im sve
informacije vane za izbor fakulteta, i upoznaju ih sa mogunostima
studiranja na ovoj visokokolskoj ustanovi, novosadski Fakultet tehnikih
75
nauka je i ove godine organizovao seriju promocija. (topsrbija.com

18.04.2012.)
,

.
ilas zahvalio belgijskom gradonaelniku to mu je otvorio oi.
Odgovarajui na pismo gradonaelnika Larnea, ilas mu ponudio da zbrine
neke romske porodice, kojima bi Beograd, u tom sluaju, organizovao
prevoz. (telegraf.rs 06.03.2012.)
brirle los ojos (a alguien) (.
()).
( ):
Almudena Fernndez: La moda me abri los ojos al ecologismo La
top espaola acaba de fundar su propia ONG (...). ( :
.
(...).) (abc.es 01.04.2013.)
/
. ,
/
, (/).
()
; .
,
( 2014: 387).
Zato u agencijama za nekretnine savetuju vlasnicima da dobro otvore
oi i raspitaju se kome izdaju svoj stan. (novosti.rs 10.10.2011.)
,

, 10:
Otvorite etvore oi da teko zaraeni novac za stan ne ode u ruke
mnogobrojnih prevaranata. 13 saveta za sigurnu kupovinu stana. (alo.rs
29.01.2012.)
brir (alguien) (bien) los ojos (. () () )
.
Con ellos podrs desbloquear fantsticos premios en el juego, as que
abre bien los ojos! ( , ! (disney.es 12.01.2013.)
10
/ ,
.
76
/ , ,
, (), (), . . /
, , , , ,
.
Sran Dragojevi: Ivica Dai je prvi politiar u Srbiji koji na kosovski
problem gleda otvorenih oiju. Politiari prethodne vlade zadueni za
pregovore o Kosovu odnosili su se prema ovoj temi kao deca koja zatvore
oi i veruju da ih drugi ne vide (...) (blic.rs 31.03.2013)
on los ojos abiertos (. ) .
dormir ()
(DFDEA). , : on un ojo abierto (.
), con un ojo abierto y el otro cerrado (.
).
, / .
,
, on los ojos abiertos .
Hemos pasado la noche con un ojo abierto y el otro cerrado, a causa
de los ladrones. ( .) (DFEM)
5.
. ,
, . (, , , ).
-
.

() ().

,
.

(
, abrir los ojos , , ,
),
77
( , ,
(dormir) con los ojos abiertos , ,
).
abrir los ojos , .

,
, -
. , , , ,
.
abrir los ojos
,
, . ,
, . ,

.
abrir los ojos , ,
.
/ errar los ojos (. ),
.
:
A, 2012: . Andrijevi, A. Pejovi: Elementi neverbalne
komunikacije u jeziku: veza izmeu kinezike i frazeologije, : B. Mii-Ili, V.
Lopii (.), Jezik, knjievnost, komunikacija. Jezika istraivanja, Ni: Filozofski
fakultet u Niu, 442451.
x 2006: V. Angelova Nnkova, Somatismos fraseolgicos en
blgaro y espaol: contraste de unidades fraseolgicas desde la praxis traductora,
: .Garca-Medall (.), Fraseologa e irona: descripcin y contraste, Lugo: Axac,
97110
2000: D. Dobrovolski, La especifidad nacional y cultural en
fraseologa, : . D. Luque Durn, . Pamies Bertrn, A. (.), Trabajos de
lexicografa y fraseologa contrastivas, Granada: Mtodo, 6378.
2005: D. Dobrovolski, Acerca de la equivalencia transligstica de los
fraseologismos, : .D. Luque Durn, . Pamies Bertrn, A. (.), La creatividad en
el lenguaje: colocaciones idiomticas y fraseolog, Granada: Mtodo, 359379.
78
/ , ,
, . 2004: R. orevi, Uvod u kontrastiranje jezika, Beograd: Filoloki

fakultet.
2000: G. Corpas Pastor, Acerca de la (in)traducibilidad de la
fraseologa, : G. Corpas
Pastor (.), Las lenguas de Europa: Estudios de fraseologa, fraseografa y traduccin,
Granada: Comares, 483523.
2003: G. Corpas Pastor, Diez aos de investigacin en fraseologa:
Anlisis sintctico-semnticos, contrastivos y traductolgicos, Madrid: Lingstica
Iberoamericana.
2014: . , : , , 43/1, : ,
385393.
- 1987: . -, -
, : .
2013: . ,
, XVIII, , 401414.
2009: S.Stankovi, O pojmu i razvoju kontrastivne analize jezika, Zbornik
radova Filozofskog fakulteta, Ni: Filozofski fakultet, 6578, http://scindeks-clanci.
ceon.rs/data/pdf/0354-3293/2009/0354-32930939065S.pdf, 02.11.2014.
2001: . Hrusti, Kontrastivna analiza frazeolokih izraza s komponentom
KOPF/GLAVA u njemakom i u B/H/S jeziku, Tuzla: autor.
2001: . , - , , 57, , 4152.
, :
, 1996: F.Varela,. Kubarth, Diccionario fraseolgico del espaol
moderno, Madrid: Gredos. (DFEM)
: Real Academia Espaola: Banco de datos. Corpus de Referencia del spaol
ctual.
(http://www.rae.es). (CREA)
1982: . Matei, Frazeoloki rjenik hrvatskoga ili srpskoga jezika, Zagreb:
kolska knjiga.(FRHSJ)
, 19671976, IVI, , :
, . (/)
2005: . Seco de Arpe, Diccionario fraseolgico documentado del espaol
actual: locuciones y modismos espaoles: basado en el Diccionario del espaol actual de
Manuel Seco, Olimpia Andrs, Gabino Ramos; Madrid: Aguilar. (DFDEA)
1969: R. Simeon, Enciklopedijski rjecnik lingvistickih naziva, I-II, Zagreb:
Matica hrvatska.
Resumen
Esta investigacin pertenece al campo de la lingstica contrastiva y tiene como
objetivo detectar las relaciones semnticas interlingsticas que figuran entre los
fraseologismos (lit. abrir los ojos) y abrir los ojos. El mtodo que
utilizamos es el anlisis contrastivo semntico y la equivalencia traductolgica forma parte esencial del trabajo. Por equivalencia traductolgica entendemos uno de los
fenmenos ms importantes en la resolucin de los problemas de comparabilidad e
ilustramos el grado de su realizacin en los fraseologismos serbios y espaoles mediante los ejemplos somticos. Luego representamos las realizaciones semnticas y
los rasgos diasistemticos en los fraseologismos de origen mmico y
79
abrir los ojos, explicando tambien el trmino fraseologa de origen gestual o mmico.
Advertimos que las unidades de tal origen son especialmente peculiares debido a su
doble naturaleza semntica (literal e idiomtica) y debido al hecho de que las lenguas
y culturas diferentes imponen diferentes conceptualizaciones del mismo gesto y
movimiento. Tomando como ejemplo y abrir los ojos, demostramos
que las relaciones interlingsticas no siempre son fciles de entender y caracterizar
como la equivalencia absoluta, parcial, nula o aparente. Llegamos a la conlusin que
estos fraseologismos tienen una polisemia muy desarrollada en el plano intralingual,
por lo cual su relacin se manifiesta como compleja en el plano interlingual. Ellos
manifiestan una congruencia semntica general, pero difieren en la definicin lexicogrfica y en la distribucin de los significados primarios y secundarios. De esto se
desprende que la compresin correcta de su semntica y funcionamiento exige un
representacin ms amplia, dentro de los contextos reales.
Palabras clave: lingstica contrastiva, equivalencia traductolgica, fraseologa,
serbio, espaol, fraseologismo de origen mmico

: 11. 2014.
2014.
80
/ , ,

811.131.1'367.2'366.58
811.163.41'367.2'366.58
M. 1

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consecutio temporum, , , Dizionario di linguistica
.
1 m.marija3@gmail.com
81
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2006: 323). , ,
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Marco dice/dirr: Il libro intressante.
Marco dice che il libro intressante.
Marco dirr che il libro intressante.
,
,
(tense back-shifting), . .
Marco ha detto: Il libro interessante.
Marco ha detto che il libro era interessante.
82
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(Tempus, Tense, ) (Zeit, Time, ) (, , ).
, : ? . Lipar / Journal for Literature, Language, Art and Culture
83
M.
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: )
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)
( 2011: 129).
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consecutio temporum (, &
1987: 272).

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, 2006
2007.
(le
proposizioni completive)
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soggettive) (Serianni 2000, 2009). , Grande grammatica
italiana di consultazione (Renzi et al. 2012), ,
. completive oggettive ( ) completive
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. ,
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),
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...il cardiologo gli aveva detto che gli ci voleva del moto... (Tabucchi, 19) ...
... (, 12)
...sosteneva che la sua patria era la lingua portoghese (Tabucchi, 36) ...
(, 21)
Cap che erano soli, che non cera nessuno in giro... (Tabucchi, 43) -
, ... (, 25)
Not che la vetrina era in frantumi e che la facciata era imbrattata di scritte...
(Tabucchi, 57) ,
... (, 32)
... gli chiese se potevano incontrarsi in citt... (Tabucchi, 10) ...
... (, 7)
... gli chiese se non gli piacesse il vino bianco (Tabucchi, 44) ...
... (, 25)
(limperfetto dellindicativo)
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... (, 95)
... ma allinizio mi sembrava che di morte si intendesse... (Tabucchi, 122)
... ... ( , 65)
... non si aspettava che uno scrittore come quello abbandonasse il suo paese
(Tabucchi, 104). ...
(, 55).
... e non gli parve che bisognasse stare con gli occhi aperti (Tabucchi, 19). ...
(, 12).
E poi non voleva che uno sconosciuto si accorgesse che la redazione culturale
del Lisboa era solo lui, Pereira... (Tabucchi, 10)

... (, 7)
, ,
. :
... e cos disse che (...) per questo aveva bisogno di personale, di un collaboratore esterno che facesse una rubrica fissa. (Tabucchi, 9) ...
(...) ,
. (, 7)

,
:
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a cui riferiva il cameriere (Tabucchi, 57). ... (, 33).
,

. ,
, ,
.
,
89
M.
.

.
... sapeva che i mercati erano in agitazione (Tabucchi, 13) ...
... (, 9)
... sostiene di aver pensato che in fondo si poteva scrivere viva la Francia e
che il dottor Cardoso non aveva ragione (Tabucchi, 153). ...

(, 83).
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(il trapassato dellindicativo)

(il trapassato del congiuntivo)
. ,
. , ,

,
( 1989: 138).
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(Tabucchi, 136)
... (, 73)
... gli disse che aveva fatto le terme... (Tabucchi, 70) ...
... (, 39)
Pereira gli chiese se aveva visto il suo direttore (Tabucchi, 62).
(, 34).
Pens che il telegramma non fosse arrivato oppure che Silva avesse gi abbandonato le terme (Tabucchi, 61).
(, 34).
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... (, 10)
90
/ , ,
3.3.
. , (il condizionale composto)
. , (
II) (
). ,
, , II.

( I).
, .

I.
: .
.

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... lo sapevo che avrebbe preso posizione... (Tabucchi, 140) ...
... (, 76)
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... (, 62)
...ma credeva che quel racconto sul pentimento sarebbe stato un messaggio
nella bottiglia che qualcuno avrebbe raccolto (Tabucchi, 78). ...

(, 42).
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quel giorno stesso... (Tabucchi, 10) - ...
... (, 7)

, .
Pens che il dottor Costa (...) non gli avrebbe mai fatto domande cos personali... (Tabucchi, 115) (....)
... (, 62)
Pens (...) a quello che avrebbe detto padre Antonio... (Tabucchi, 20) ...
... (, 13)
Pens (...) che padre Antonio non avrebbe approvato il suo comportamento...
(Tabucchi, 21) (...)
... (, 14)
91
M.
... disse che (...) avrebbe avuto voglia di parlare di letteratura... (Tabucchi,
29) ... (...) ... (, 19)
Marta rispose che avrebbe bevuto volentieri un porto secco (Tabucchi, 97).
(, 53).
4.
, ,
.

.
,
, .
,
, ,

.

. ,

,
. , ,

, ,
.
:
, . 2008. . : .
Tabucchi, Antonio. 2002. Sostiene Pereira. Milano: Feltrinelli.
, . 2008. . : .
92
/ , ,
:
Beccaria 2004: G. L. Beccaria, Dizionario di linguistica e di filologia, metrica, retorica,
Torino: Einaudi.
Dardano i Trifone 2001: M. Dardano, P. Trifone, La nuova grammatica della lingua
italiana, Milano: Zanichelli.
. 1987: . , . , . , , :
.
1989: . , (
). 1989.
2013: . , . , .
: .
2006: . , , : Luna crescens doo.
Renyi i dr. 2012: L. Renzi, G. Salvi, A. Cardinaletti, Grande grammatica italiana di
consultazione. Bologna: Il Mulino.
2006: . , (1),
, 49 (1), . 123217.
2006: . , (2),
, 49 (2), . 103266.
2007: . ,
. , (7172), . 329343.
Serianni 2000: L. Serianni, Italiano: Grammatica, sintassi, dubbi. Torino: Garzanti.
2011: . , :
() ?. , :
, , 2223. 2010, . 123134.
2009: . , . : .
Marija MItrovi/ LA CORRELAZIONE DELLA CONCORDANZA DEI TEMPI NELLA
PROPOSIZIONE SUBORDINATA COMPLETIVA NELLA LINGUA ITALIANA E
NELLA LINGUA SERBA
Il tema principale del presente contributo la correlazione della concordanza dei
tempi nella proposizione subordinata completiva nella lingua italiana e nella lingua
serba. Lobiettivo del presente contributo di mostrare come si manifesta la regola
della concordanza dei tempi durante la traduzione dalla lingua italiana nella lingua
serba in quanto questultima mancante di tale regola sintattica. Durante la ricerca
stato usato il metodo dellanalisi contrastiva, e il corpus su cui si basa il contributo
consiste delloriginale e della traduzione del romanzo Sostiene Pereira di Antonio
Tabucchi. Si visto che nella lingua serba non esiste nessun tipo della concordanza dei
tempi bens luso dei tempi nella frase dipendente e quella reggente coincide mentre,
daltra parte, nella lingua italiana esistono le regole rigide delluso dei tempi verbali
nellipotassi. Inoltre, nel contributo vengono sottolineati gli errori possibili nonch
tutte le difficolt le quali, considerata questa differenza tra le due lingue, possono
emergere durante il processo traduttivo.
: 23. 2014.
2014.
93

821.163.41-31.08 .
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. 1

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1 bebisaki@eunet.rs
2
178014
, .
3
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(4. 6. 10. 2013).
95
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( 1991: 739).

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(23); (59); Lipar / Journal for Literature, Language, Art and Culture
99
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, (.
, .). Lipar / Journal for Literature, Language, Art and Culture
101
:
3. . . + -.
:
) (74),
, . (21) . .
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. . 6. ,
7
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4. ,
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102
/ , ,
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,
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2006: . , , :
.
1987: . , -
, 23, 73-94.
1999: . , : , ,
. . . 4. :
.
1969: . , , : 5, 6579.
2013: . , , :
, , , 961976.
2008: . , . . : XX . 61, 209229.
19992001: . ,
, : . . 3032, 207232.
1978: . , ( )
/
, : .
MrazoviVukadinovi 2009: P. Mrazovi, Z. Vukadinovi, Gramatika srpskog jezika
za strance, Sremski Karlovci Novi Sad: Izdavaka knjiarnica Zorana Stojanovia.
2006: . , . , : 11/12,
6569.
2008: . , , ,
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103
19671978: , IVI. :
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1950: . , -,
: 18/14, 5585.
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1977/1978: . ,
. :
1314, 5357.
Sanja urovi /Present Participle as Verbs and Adjectives in Ivo Andrics Bosnian
Chronicle
Summary/ This paper will attempt to analyze the usage of present participles in
the novel Bosnian Chronicle (Serb. Travnik Chronicle). More specifically, the aim of
this research is to morphologically analyze the use of present participles (e.g. jurei,
zaboravljajui, okreui, pucajui, krijui, smejui se, spavajui, odmahujui, uznemirujui,
izgovarajui, miui, steui etc.) regarding their function as verbs, and less frequently,
as adjectives, as well as their word formation patterns. Andri often employs the
present participle to express simultaneous actions in his novels, which explains the
great number of examples excerpted from the corpus.
Most of the excerpted present participles represent standard forms, the exceptions
being a few non-standard ones (e.g. razumevajui, premerajui, sabirui) and a few
stylistically marked, unusual forms that are rarely found elsewhere. We also came
across 14 present participles functioning as adjectives, all of which are explicitly
listed as such in Renik srpskohrvatskoga knjievnog jezika (Eng. The Dictionary of
the Standard Serbo-Croatian language). We can, therefore, conclude that no new or
previously unrecorded forms of adjectivalization have been detected.
Key words: morphology, present participle, verb, adjective
: 13. 2014.
2014.
104
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2
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7. :
129
2006: , , : , . 4, , : ( ).
2007: ,
( XIIXV ), , . L/12, 213222.
1987: , , : .
1974: Constantin Giurescu, Chronological history of Romania, Bucharest:
Editura enciclopedic Romn.
1973: , , , . XXX/12, 337345.
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130
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, :
1924: , XVXVIII , : .
1858: , Monumenta Serbica spectantia historiam
Serbiae, Bosnae, Ragusii, Viennae : Apud guilelmum Braumller, ( ,
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1971: , ,
, 1234. , :
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1972: , , : , XV1, ,
133.
1977: , , : , XX/2, 121.
2003: , , , .
2007: , ,
, .
2009/2010: , , : , 31/32, : , 718.
2009: ,
1430/1431. , :
( I ), . I / .1,
: - , 307326.
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, , -
.
2012: , , , XVII/1-2,
, 333359.
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, :
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IXXIII: Rjenik hrvatskog ili srpskog jezika, Zagreb: Jugoslavenska akademija
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2008: ,
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Marko Z. Proki / Letter of Moldovan duke Alexander Dubrovnik from 1566 (textual
and linguistic analysis)
This work focuses on the research of textual and linguistic properties of a letter
written by the Moldovan duke Alexander to the city of Dubrovnik in 1566. Apart
from the orthographic, phonetic, phonological and morphological analysis, this work
features original edition of the letter, its transcription and modern edition. Research
results suggest an older type of orthography which shares certain characteristics
with orthography of Rashka, Hum and Bosnia. The most prominent phonetic properties witnessed in the work in question are: 1) ekavian and ekavian or ijekavian yat
reflexes; 2) consistent vocalization of old semivowel; 3) syllable final ////. The
most prominent morphological properties witnessed in the work in question are: 1)
dative and locative singular of old *-- and *-j declination ending in -; 2) genitive
plural of nouns ending in -; 3) genitive singular of pronouns and adjectives ending
in -/-; 4) genitive and dative plural of masculine definite adjectives ending in
- (*<), - (*<), beside expected dative ending -; 5) first person singular
present tense ending in -; 6) third person present tense without ending -; 7) infinitive ending in -. Dominant presence of national language in the text is an indication
of Herzegovina-Krajina dialect zone. Photographs of the original document can be
found in the supplement.
Key words : Moldovan duke Alexander, Dubrovnik, Dragutin Srbin, Serbian cyrillic
scripts, Herzegovina-Krajina dialect zone
: 15. 2014.
2014.
132
/ , ,

821.163.41-14.09 .
. 1

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1 sandra.serbum@gmail.com
133
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145
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1958: , 1, 1919-1924, :
.
1964: Rastko Petrovi, Poezija, Beograd: Prosveta.
2005: , , :
.

1993: Radomir Baturan, Otkrovenje Rastka Petrovia, Beograd: Narodna
knjiga.
1989: , , :
(.), , :
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, 2001: , ,
, , : Zepter book world.
1973: , , : .
146
/ , ,
Aleksandra Mati / SLAVDOM IN EARLY POETRY OF RASTKO PETROVIC

Summary/ In the paperSlavdom in early poetry of Rastko Petrovi we are analyzing the
role and the significance of the elements of slavdom, Slavic mythology and paganism,
as well as Petrovis vision of Slavic pantheon in early poetry from 1919 to 1924. The
main object of our criticism is revealing connection between the idea of slavdom and
the idea of vitality which regards the vibe of life, the possibility of restitution and
transformation, as key subjects of the R. Petrovis poetics, as well as the way of how
the idea of slavdom is being diversified in his poetry. The methods of mythologization
are being scrutinized on the levels of semantics, structure and stylistics. It is deduced
that Petrovi as a poet, through mythical symbols of death and rebirth, is returning to
traditional art, considered as original expressive power, to achieve and create bonds
with the myth and to revitalize magical capability of language.
Keywords: slavdom, paganism, Early Slavs, vitalism, dynamism, tradition, mythology,
folkloric creatorship, primitive mentality
: 10. 2014.
2014.
147

821.163.41-31.09 .
. 1

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1 jeca.veska@gmail.com
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1993: , , ; ,

Jelena . Veskovi / Where is the Damned Yard?Key words: Damnation, beginning, end, circle, space, Kafka, sense, identity, guilt, life, death
Summary / How to approach The Damned Yard? If we had left keys of Andris heavy
prisons door, if we have entered, stood in the center of dwarfed trees whilst father
Peter, amil, Karadjoz, had been standing or passing us by, if we had seen or heard
everything, would have we been capable of reaching The Damned Yard? We are
damned, arent we? Even though it has been writing a lot about Andris literary work,
especially about The Damned Yard, it seems that its not enough, so this essay will
be pervasion of ideas and experiences. Eventually, we will not answer the question
Where is The Damned Yard?, but we will try to present how have we been trying all
along. Also, in this essay it is shown conception of heroes, damnation and doubt of
theirs indentities. Pursuing, right path, we found literary work, heroes, or ourselves
157
in circles. And there are no definite beginning and the end. Also, we will try to depict
intercection of the kafkaesque absurd and Andris damnation, and theirs space
poetics. Finally, we will try to determinate whether we discover infinite question of
lifes sense in The Damned Yard, or not, and is it possible at all.
Key words: Damnation, beginning, end, circle, space, Kafka, sense, identity, guilt,
life, death
: 12. 2014.
2014.
158
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I spoke of advertising, and whats illusory about that is the perverted appeal it so often
makes to the imagination: the appeal to snobbery and to what are called status symbols, the exploiting
of the fear of being ridiculed or isolated from society () Then theres the use of clich, that is ise of
ready-made, prefabricated formulas designed to give those who are lazy to think the illusion of thinking. () Then theres the use of what we call jargon () federal prose () People write this way when
they want to sound as impersonal as possible () they want to suggest that that the social machine
theyre operating () is running smoothly, and that no human factors are going to disturb it.
6
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basis of what you have to say is your vision of society.
7
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existence of a world beyond his own interests: a world of health for the doctor, of juistice for the
lawyer, of peace for a social worker, a redeemed world for the clergyman, and so on.
The Educated Imagination
1961 , 1963. 1985.
The Dialectic of Belief and Vision ( ), : Everyone
with any social function has some model community in his mind in the light of which he does his
job, such as community of better health for the doctor, of clearer judgment for the teacher, or fewer
wrecked and wasted lives for the social worker. The model so constructed is a myth or fiction, and
in normal minds it is known to be a fiction. That does not make it unreal: what happens is rather an
interchange of reality and illusion in the mind. () The touchstone of reality is the fictional model
vision. ( 1996: 99)
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. : http://courseweb.stthomas.edu/
ajscheiber/engl%20380/Georg%20Lukacs.pdf, : 1221, : 16.06.2014.
9
The Imagination then I consider either as primary, or secondary. The primary Imagination
I hold to be the living power and prime agent of all human perception, and as a repetition in the finite
mind of the eternal act of creation in the infinite I AM. : http://eseji.
blogspot.com/2009/09/vordsvort-i-kolridz-o-imaginaciji.html
164
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imagination, for this is the faculty which works the required magic without producing
what is now felt to be fictitious. Where there is consciousness of fiction, it is the fancy that has been
at work. The test of the imaginative, as distinct from the imaginary, is that external objects shall
have been coloured by the poets own mood, or made the symbol of it; that the plastic power shall have
been exercised, but kept subservient strictly to external things. Modifications so wrought, values so
ascribed to the fact-world, have a reality-status which is unassailable, because they are psychological
in origin; they spring, that is, from states of mind, of which the realitycannot be questioned.
11
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... Blake rehabilitates the term Imagination to signify not a sick fantasy, but the faculty of
vision and eternal truth
13
In other poets (Blake is the supreme example) the goal of life is represented as attainable, but
only by a sudden and radical alteration of consciousness. () Man must, by a triumph of imagination,
break out of the cycle of his present existence into the enduring vision of an integral and entirely
human world which is alone adequate to the reach of his desire.
165
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Echoes of William Blake can be found when Henry Giroux writes of enabling students to
read the world differently and to summon up the courage to imagine the different and more just world
and to struggle for it.
15
: http://billmoyers.com/segment/henry-giroux-on-zombie-politics/, :
11.06.2013.
166
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Education either functions as an instrument which is used to facilitate integration of the
younger generation into the logic of the present system and bring about conformity or it becomes the
practice of freedom, the means by which men and women deal critically and creatively with reality and
discover how to participate in the transformation of their world.
167
. Crises of
Imagination, Crises of Power: Capitalism, Creativity and the Commons (
, : , ) The Radical18
Imagination: Social Movement Research in the Age of Austerity (
: ) , , . 2009.
Privatized resistance: AdBusters and the culture of neoliberalism
( : ),
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In the public pedagogy of neoliberalism, learned through exposure to a lifetime of
commercial media that glorify wealth, commodities, individualism, violent retributive vigilante justice
(...) Giroux notes that there is no room for public imagination.
168
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The first is that social movements are, at their hearts, animated by the radical imagination.
The radical imagination is not a thing one can possess, no matter how outside the box ones own
personal thinking is or how many clever books one has read (or written). The radical imagination
is a collective process, its something we do together. It is a shared landscape of political refusal, a
mutually reinforcing agreement to question the social order and the roots of exploitation, inequality
and oppression. Beyond merely a feel-good slogan, the radical imagination emerges out of questions,
conflicts, friction and debate. It is a constant, always unfinished process and while it may occasionally
crystallize into a particularly inspiring idea, or a particularly acute theory, or a particularly compelling
text, these are the products of (and, in turn, help reproduce) a subterranean flow of ideas, arguments,
relationships, organizational forms and shared memories.
: http://roarmag.org/?s=+Fomenting+the+radical+imagination+with+movements,
10.08.2014.
21
hat is, we imagine a role for social movement researchers as facilitators of movements
own research practices, as conduits and catalysts for the radical imagination. Further, researchers
can act as border crossers, translating or smuggling social movement common research into different
communities, different venues and different public spheres.
169
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22
The university-to-come would, of course, be free, financially, politically and spiritually. It
would be open to all. It would not have specific disciplinary courses of study to be completed in four
years by disenfranchised, indebted youth, but allow for a fluid passage of people in and out of learning
and teaching at different moments in their life.
23
: http://roarmag.org/2014/01/max-haiven-crises-of-imagination/, :
10.08.2014.
24
At issue here is the politics of the imagination and the power of creativity, not as we are
accustomed to imagining them, as personal possessions, but as shared or common capacities.()
Today, weve seen the promise of creativity used as a carrot to entice us to invest our hopes, skills,
passions and energies in a capitalist system that does not reflect our values or meet our needs, and
which in fact undermines creativity in any meaningful sense. I conclude by re-imagining creativity in
a way that doesnt valorize individual genius but, instead, makes us aware of how all creativity even
when it is expressed in individual pursuits is both the product and the producer of our shared lives;
a fragment of our collective, cooperative, and common labors. (...) The first is an attempt to create
new commons of social reproduction outside the command and control of capital (...). The second is
(...) attempt to (...) defend and reclaim public institutions (schools, hospitals, public works) from the
market (...)
170
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25
: http://zedbooks.co.uk/node/17770, 10.08.2014. The idea of the
imagination is as evocative as it is elusive. Not only does the imagination allow us to project ourselves
beyond our own immediate space and time, it also allows us to envision the future, as individuals and
as collectives. The radical imagination, then, is that spark of difference, desire and discontent that can
be fanned into the flames of social change.
26
,
(: 2002: M. Rossman, The Rossmans report:A Memoir of Making History,
: The Free Speech Movement: Reflections on Berkeley in the 1960s, (. R. Cohen, R.Zelnik), Berkley and
Los Angeles: University of California Press, 108-109
27

.
(Nobody ) (knows) . : Nowbody knows who William Blake
is ( () .
171
. ,
.

. ,
;
. , . (...)

, ,
, .
.
.
.28 ( 1971: 793-794)
1973: M. H. Abrams, Natural Supernaturalism, Tradition and Revolution in

Romantic Literature, New York: W.W. Norton&Company.
1971: Blake, William, Blake: Complete Writings with variant readings, (G.
Keynes, .), London: Oxford University Press.
1962: B. Willey, On Wordsworth and the Locke Tradition, : M. H. Abrams,
English romantic poets, Modern Essays in Criticism, New York: A Galaxy Book, New
York Oxford University Press.
2013 : H. Giroux, Henry Giroux on Zombie Politics-Interview with Bill
Moyers, . B. Moyers, <http://billmoyers.com/segment/henry-giroux-on-zombiepolitics/>.13.06.2014.
2013 : . : , : Eduka.
2009: . . : Vordsvort i Kolrid o imaginaciji (teorijska shvatanja
pesnikog romantizma), ., <http://eseji.blogspot.com/2009/09/
vordsvort-i-kolridz-o-imaginaciji.html>10.08.2014.
1981, H. Marcuse, Estetska dimenzija: eseji o umjetnosti i kulturi, Zagreb :
kolska knjiga.
1978, H. Marcuse, The Aesthetic Dimension: Toward a Critique of Marxist
Aesthetics, Boston: Beacon Press, < http://www.marginalutility.org/wp-content/
uploads/2011/10/aesthetic-dimension-_-marcuse.pdf>10.08.2014.
2003: B. Southgate, Postmodernism in History: Fear Or Freedom?, New York:
Routledge.
1991: N. Fraj, Mit i struktura, Sarajevo: Svijetlost.
1996: N. Frye, Myth and Metaphor: Selected Essays 1974-1988, Charlottesville
and London: University Press of Virginia.
28
I feel that a Man may be happy in This World. And I know that ThisWorld is a World of
imagination & Vision. I see Everything I paint In This World, but Every body does not see alike. To the
Eyes of a Miser a Guinea is more beautiful than the Sun, & a bag worn with the use of Money has more
beautiful proportions than a Vine filled with Grapes. The tree which moves some to tears of joy is in
the Eyes of others only a Green thing that stands in the way. Some See Nature all Ridicule & Deformity,
& by these I shall not regulate my proportions; & Some Scarce see Nature at all. But to the Eyes of the
Man of Imagination, Nature is Imagination itself. ()
But I am happy to find a Great majority of Fellow Mortals who can Elucidate My Visions, &Particularly
they have been Elucidated by Children, who have taken a greater delight in contemplating my Pictures
than I even hoped. Neither Youth nor Childhood is Folly or Incapacity. Some Children are Fools & so
are some Old Men. But There is a vast majority on the side of Imagination or Spiritual Sensation.
172
/ , ,
2003: N. Frye, : Watson P., The Canadians, Biographies of a Nation, Toronto:

McArthur&Company.
1967: N. Frye, The Educated Imagination, Toronto: CBS Publications.
1996: P. Freire, Pedagogy of the Opressed, London: Penguin books.
2002: P. Freire, Pedagogija obespravljenih, Zagreb : Odraz.
1963: . Huxley, Literature and Science, London: Chatto & Windus.
2009: M. Haiven, Privatized Resistance: AdBusters andthe Culture of
Neoliberalism,
<http://www.academia.edu/1474860/Privatized_resistance_
AdBusters_and_the_culture_of_neoliberalism>.10.08.2014.
2014 a: M. Haiven, Crises of Imagination, Crises of Power, <http://
roarmag.org/2014/01/max-haiven-crises-of-imagination/>.10.08.2014.
2014 : M. Haiven, Fomenting the radical imagination with movements,
<http://roarmag.org/?s=+Fomenting+the+radical+imagination+with+movemen
ts>.10.08.2014.
2014 : M. Haiven, The Radical Imagination: Social Movement Research in
the Age of Austerity, <http://zedbooks.co.uk/node/17770>.10.08.2014.
Ivana Banevi Pejovi / Imagination: the aesthetic or political dimension of art
(from William Blake to Henry Giroux and Max Haiven)
Summary / The essay traces the use of the term imagination as the guiding power of
social change, from the works of William Blake and the Romantics, to the use of the
term radical imagination in the studies of Henry Giroux and Max Haiven. Imagination, these authors insist, is the innate human power which can cleanse the doors
of perception from various types of destructive social myths and liberate mankind
into true cognition of reality. In that sense imagination can spark social revolutions.
As Meyer Howard Abrams emphasized, it was Blake who rehabilitate[d] the term
Imagination to signify not a sick fantasy, but the faculty of vision and eternal truth.
According to Blake, imagination is the defining mental power of mankind, which
makes it possible for man to transcend imposed social boundaries and see beyond
the unjust social order the more equitable and more humane possible world. Such visions are not escapes from the given reality, but its challenge, a will to change mans
oppressed state in the world, by liberating his creative potentials, blocked by forced
submission to false authority. In the book The Aesthetic Dimension, Herbert Marcuse
writes on the various dimensions of art and establishes the connection between its
aesthetic and political dimension. In the connection, he claims, lies arts power to
change human consciousness, and consequently the human world as well. Marcuses
book provides the theoretical frame for this essay. Just as Marcuse seeks to contribute to Marxist aesthetics through questioning its predominant orthodoxy, this essay
expends Marcuses ideas on the role of imagination and art in social revolutions. As
a university teacher, Marcuse deals with pedagogy and didacticism in Die Zeitmessungen (the measure of our time), where he explicitly discusses them. However, in
The Aesthetic Dimension he does not mention the didactic dimension of imagination
and art, which Giroux and Haiven claim is crucial. Giroux and Haiven believe that
the most important function of education is the development of radical imagination.
In their own pedagogical work they strive to do so, in order to enable the students to
read the world differently and to summon up the courage to imagine the different
and more just world and to struggle for it.
Key words: radical imagination, revolution, critical pedagogy, change of consciousness, cleansing of the doors of perception
: 23. 2014.
2014.
173

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Doussan, Jenny, Time, Language, and Visuality in Agambens Philosophy, http://books.
google.rs/ d=qT8hAQAAQBAJ&pg=PA151&lpg=PA151&dq=agamben+schirmache
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&sa=X&ei=hwtZVPjpOYjdapmhgOgN&ved=0CCcQ6AEwAg#v=onepage&q=agamb
en%20schirmacher&f=false, 03.11.2014.
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Rahn, Josh, Modernism, http://www.online-literature.com/periods/modernism.php,
03.11.2014.
, Modernism, https://faculty.unlv.edu/kirschen/
handouts/modernism.html, 03.11.2014.
Nikola M. uran / AGAMBENS HYPOTHETICAL ATTITUDE ON THE DEVELOPMENT OF BRITISH LITERATURE IN THE XX CENTURY
Summary / The paper is concerned with the topic of connection between the theory
of paradigm as a primary notion of cognition, as defined by Giorgio Agamben, and
its historical contextualization in the British literary movements which were flourishing during the decay of the Empire, ending in the turmoil of two World Wars.
The diminishing notion of self-sufficient political and cultural ideology gave rise
to various daring attempts to demystify the false solemnity of British middle-class
society by the usage of scandalous literary ideas at the beginning of the XX century
(as in Imagism and Modernism), which would only after World War II start to turn
more subtle and discrete (as in Postmodernism). Whatever their discourses, these
movements all held a common theory that a momentum of revolutionary cynicism is
a necessary standpoint for the salvation of epistemology, culture, and arts from the
clutches of ideological introversy.
Keywords: Agamben, Great Britain, literature, Modernism, war, paradigm
: 15. 2014.
2014.
187
821.163.41-14.09 .

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XVI/ 55 / 2014.

aslav Nikoli, Assistant Professor, PhD

Vladimir Polomac, Assistant Professor, PhD

Nikola Bubanja, Assistant Professor, PhD

Jelena Arsenijevi, Assistant, PhD

prof. Persida Lazarevi di Giakomo, Full Professor, PhD

Jelenka Pandurevi, Assistant Professor, PhD

Svetlana Kalezi, Assistant Professor, PhD

Ivan Maji, Assistant Professor, PhD

Ostap Slavinski, Assistant Professor, PhD

Borjan Janev, Assistant Professor, PhD

Lipar / Journal for Literature, Language, Art and Culture

(17. 1937 25. 2013)

Ivan M. Kolari / AESTHETIC STANDPOINTS OF ANDREJ MITROVI

Lipar / Journal for Literature, Language, Art and Culture

Lipar / Journal for Literature, Language, Art and Culture

Lipar / Journal for Literature, Language, Art and Culture

1974. , 1998. 2004. .

. 2004: V. Dugali i dr, Narodna banka 18842004, Beograd.

Lipar / Journal for Literature, Language, Art and Culture

1977: A. Mitrovi, Teorija Ergnzungswirtschaft u Vajmarskoj

Lipar / Journal for Literature, Language, Art and Culture

( , ); ser todo ojos (. )

nauka je i ove godine organizovao seriju promocija. (topsrbija.com

, . 2004: R. orevi, Uvod u kontrastiranje jezika, Beograd: Filoloki

serbio, espaol, fraseologismo de origen mmico

(il trapassato dellindicativo)

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Aleksandra Mati / SLAVDOM IN EARLY POETRY OF RASTKO PETROVIC

Lipar / Journal for Literature, Language, Art and Culture

1973: M. H. Abrams, Natural Supernaturalism, Tradition and Revolution in

2003: N. Frye, : Watson P., The Canadians, Biographies of a Nation, Toronto:

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