In this article fundamental codes of Serbian tradition – the codes binding together various visions of heritage and models of historical memory within the collective imagery – are taken into consideration. At the moment there are certain processes taking place that aim at reintegration of these genuine codes, be them ecclesial, folk or state-controlled, and, at the same time, there is a tendency of a creation of new codes. The adaptation of old senses (phenomena, figures, events, ideas, symbols – presented in short – derived from the beginning of their codification in the 18th and 19the centuries) enables the Serbian culture to establish a division of cultural elements called “domestic” and “alien”. At ideological-political and moral levels the forms of actualization of certain traditions are used to stereotypize and essentialize ethnic elements, both in a sphere of religious and laic values.
 

The term “liberature” (pol. liberatura; from lat. liber – book; libertas – freedom), was introduced by Zenon Fajfer in 1999 in his essay Liberature. Appendix to a Dictionary of Literary Terms to describe the phenomenon of literary works created as material artifacts rather than only a neutral containers for a text. As Fajfer writes, the first, elementary space is an “actual book – a material object”. In one of his liberature-inspired manifestos, “Liberature: hyperbook in the hypertext era”, Fajfer introduces the term of “hyperbook” which involves both material and unique aspects character of this special kind of a literary work, created as a fully prepared artifact. I focus on two different examples of neo-avant-garde hyperbooks not only to discuss their dissimilarities, but also to emphasize their material structure and mutual influence. The first example is the hyperbook-manifesto of “verbo-voco-visual” literary and art movement in Slovenia containing interdisciplinary works and various objects fixed to the paper as the crucial elements of its spatial identity. The second work is Gellu Naum’s The Advantage of Vertebrae, a cycle of ten collage poems, published in 1975. This cycle consists of ten boards, covering ten pages in the paper edition. Though originally, all of the collages were presented on a single canvas, inside a wooden frame painted pink, hanging on the wall in one of the Bucarest art galleries. The most important issue comes from the fact that the prevalence of the both Westeast 4 anthology and Gellu Naum’s cycle are not widely available in their original (respectively, dispersed or non-existing) form, but reprinted in the books, reproduced in thousands of copies in various selections. Therefore, all published versions gain the status of the original hyperbook.
 

This paper attempts to define the basic characteristics of Krleža’s and Ujević’s literary criticism discourse in the context of productive and divers Croatian literary criticism in the period between 1914 and 1952, i.e. between the end of Literary Modernism and appearance of the literary magazine Krugovi (the so-called Second Literary Modernism). Krleža and Ujević share a principled understanding of criticism as a combination of emotions (experience of something artistic) and intellect (knowledge of literary and extra-literary context), a philosophical dimension of subjects observed and questions asked, and the refusal to accept any kind of previously prescribed „objective method“ or poetics. The key difference is in approach and description. In Krleža’s work, along with his characteristic artistic gilt we can also discern a sociologic, historic and ideological level with mostly left prefix along with incorporated consideration of literary phenomenon. However, Ujević’s works are dominated by an „adorable chaotic fair of sensations, and spontaneity of soul“ (M. Vaupotić) with no firm foothold in any kind of superior opinion models. In the development of Croatian literary criticism from Literary Modernism to the literary magazine Krugovi, critical essays of Krleža and Ujević hold a special position due to their associativity, and rhetoric and erudite diversification.
 

The article offers an attempt to present practical activities based on the structure of a poem for use in a foreign language classroom, coherent with the methodology of teaching through practical productive exercises, as well as on The Common European Framework of Reference for Languages. Paul Celan’s poem Ich hörte sagen presents a perfect research material because of its poetical structure, which may constitute a basis for the development of linguistic competences, as well as competences in literary text reading. The typology of activities built on Celan’s poem is preceded by an analysis of the role of literature in foreign language teaching and the status of poetry in the whole teaching process.
 

The present article gives a rough outline of Lucan’s use of alliteration by attempting to discover the most important functions of this particular rhetorical device in his epic. For the sake of clarity, the instances of alliteration that are found in the epic are divided into three groups: ‘pure’ (of one and the same consonant), ‘mixed’ (of two or more consonants) and ‘combined’ (accompanied by other rhetorical devices). Lucan’s use of alliteration is shown to extend far beyond the achievement of an instantaneous sound effect at the level of a single line or even a single passage. In several cases, alliteration is used as a means of association in order to allow the poet to connect passages that seemingly have nothing in common. This in turn leads to the conclusion that Lucan’s compositional scheme – based on allusions and association – is present even at the level of the phoneme.
 

Position of Translated Film in Europe and in Poland: 27 Years Late

The position of Polish film after 1989 has significantly deteriorated. Previously admired and respected, Polish cinematographers are now battling against a profound crisis – a creative one, but also a financial one.
In the meantime, American films, i.e. Hollywood films, dominate in European cinemas. And as, according to Lawrence Venuti, a translation strategy concerns also the choice of texts to be translated, this is the point in which translation commences. Therefore, why do the majority of films selected for translation by European distributors come from Hollywood?
Since the 1980s, a period of extraordinary prosperity for Hollywood, and a period of crisis for the European cinema, the manner of perceiving of motion pictures has changed, and that, in turn, has changed the balance of power in the world cinema. We shall briefly present those changes and factors that influenced them, and shaped the current situation. In order to better illustrate it, we shall base the presentation on Zohar’s polysystem theory.
This situation influences the position of Polish cinema: recognized and appreciated for its artistic value in the period between 1950s and 1980s, despite censorship, and now – a marginal phenomenon, which may seem surprising, even paradoxical. We shall attempt to demonstrate also possible explanations for that situation.
At the end of our paper, we shall briefly comment on the status of the television, which is slightly different than that of the cinema.
 

Language as the Mirror of Awareness of Post-Soviet Human. Roman Senchin`s Prose

The thesis proposed and proved in this article is the conviction that the language of the heroes created by contemporary Russian prose writer, Roman Senchin, copy the type of Russians` awareness, which literary scholars, culturologists and sociologists name postsovieticus. In order to justify the thesis the views of Anna Shor-Churnovska, who joins many features and creates the image of post-Soviet awareness, are presented. Among others, the scholar mentions the imitation of Russian, Soviet and Western models, suspicion, fear, disappointment in the reality and surroundings, passivity, lack of sense of responsibility for ourselves and the country. The second part of the article the analysis of the characters` language in Roman Senchin`s works (short stories, tales, novels) was conducted and on this ground the type of created hero was diagnosed. Words and phrases, which dominate in this character`s language allow to interpret the hero as clearly manifesting features of post-Soviet awareness.