The text concerns the reception of contemporary Serbian drama in Poland, namely cultural aspects of its theatrical adaptation. Dušan Kovačević and Biljana Srbljanović text stagings, usually issued Serbian authors on the Polish scenes, reveal the persistence of certain strategies for the “Other” perception. They are based primarily on the orientalism and balkanization matrices, although the creators of the performances more often than on the imaging of serbness focusing on diagnosing a Polish historical, social and cultural experience by reference to texts that were formed in the conditions of crisis. A separate part of the article was devoted to the ventures of etnological-artistic Polish alternative theatres, that in their work are inspired by Balkan (also Serbian) phenomenon of ritual drama.
 

Vedrana Rudan, a Croatian writer, publicist, and blogger, has become a famous public person, thanks to her constant presence in different media. Her strategies are presented in the paper as a conscious branding. It means that the writer tries to be present not only in the literary field, but successfully uses different channels of communication, in order to gain public recognition. Main ways of writer’s communication are discussed in the paper, among them: a blog, social media, TV performances, and author sessions. The paper argues that Rudan are not an example of celebrity, but her drive to recognition is related more with an ideological involvement, very close to the idea of social responsibility of intellectuals. Her strategies aim to influence the audience, create an emotional community and protest against the political reality in Croatia.
 

On the South Slavic territories, the end of the World War II came with the victory of communism. As a result, post-war decades in Yugoslavia were subordinated to the partisan ethos founded on the myth of the struggle with fascism. Directly after the war, this struggle assumed disposing of the so-called domestic enemies amongst whom there were also the Germans living in the Serbian Vojvodina from the 18th century. In the post-war Serbia, diversified repressions (displacements, forcible work, camp experience, confiscation of things) were aimed at the German people, predominantly civilians. These repressions constituted the taboo in the Yugoslavian national discourse, with this situation lasting for a number of decades.
In his book Majčina ruka, Igor Marojević, the Serbian prose-writer of the middle generation (born 1968), undertakes the issue of the Vojvodina Germans’ post-war fortunes. Consequently, he inscribes his literary activity into the current discussions on the ignored, erased and dissembled events from the history of Yugoslavia. Recovering the memory about them, he questions the black-and-white picture of the world built on the partisans vs. the fascists opposition, which was created after the war.
 

The main aim of the article is to show the type of the cultural awareness typical for the borderland areas, emerging in the Slovak culture. It proposes a thesis that the borderland awareness is manifested in the model of the historical and literary description, which was created after the spatial twist in the liberal arts and under the inspiration of a weather map and a geological section. The article shows how a few generations of the Slovak literary scholars (O. Čepan, M. Hamada, P. Matejovič) focused on the way how to do research on the literary field and the cultural memory of Peter Zajac, which is well demonstrated also in his theoretical reflection. The final conclusion that follows from this observation is that metaphors of a complex transport node or a gate are quite adequate in the description of the Slovak culture borderland paradigm.  
 

The aim of the article was to present the complex problem of a different kind of (im)possibilities in The Library by Zoran Zivkovic, and to reveal the mechanism of changing impossible (on physical and metaphysical basis) into possible by reffering to few philosophical theories and some cultural concepts. Presented paper focuses on interesting ways of showing the different approach to the symbolic meaning of the book and the library, also pointing to universalism of Zivkovic’s prose as the most important determinant of his poetics.
 

Hashtags, originally introduced in Internet Relay Chat, then popularized in Twitter, have become the most used way to tag short messages in social networks. They are also used on Instagram since this facilitates searching, classification and clustering over visual materials. The text focuses on the hashtag domovina (homeland) and shows how Croatian users of Instagram understand and visualize the idea of homeland. I distinguished main strategies of understanding of homeland: by connecting it with national symbols, confession, landscape, cuisine and – unexpectedly – selfie. I find that Instagram group using the hashtag domovina is a new type of political community. In the last part of the text I state that images containing tag domovina create the thematic collection and that they form a new type of image that I called modern polyptych.
 

The paper is based on the observation of the phenomenon of yugo- and titonostalgia in the Croatian mass culture, which, combined with the policy of infotainments resulted in a highly interesting way of presenting Josip Broz-Tito in the daily newspaper “24 Sata”.
The picture of Marshal Tito that is emerging from published articles, is positive in general. One will not find a critical analysis of his achievements or commentaries on the controversial points of his governments, as the tabloid focuses on gossips and anegdotes from his highly interesting life. According to the profile of the newspaper, most of the articles refers to his amorous conquests, love life, luxury and great wealth. A large part of them are also his newly disclosed secrets the public had no clue about, but those also do not apply to the sphere of serious politics, but rather give another sneak-peak into marshal’s private area. This image, although rather positive, sometimes even proud, is really shallow, one-sided, commoditized, and aims to attract a common reader.