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Ethnic marginalisation minorities is a recurring theme in ethnic writers' works, such as Julia Alvarez's novel How the García Girls Lost Their Accents, which highlights the marginalisation of Dominican family García in American culture. This paper, which draws on postcolonial and Latina feminist theory, focuses on the societal practices and familial dynamics that decenter the García sisters' status both in their family and Dominican and American sociocultural environments. The close reading analysis conveys various forms of discrimination and oppression against the García sisters based on gender and ethnicity. Contrary to the novel's title, which implies that the sisters eventually lose their accents or connection to Dominican culture, the paper argues that the sisters, in their effort to transcend the margins, manage to situate themselves between two cultural fames, developing specific bicultural consciousness, which aids them in overcoming feelings of marginalisation, cultural and social alienation.

The aim of this paper was to indicate the similarities and differences between the expressions with the component Tür/vrata (Eng. door) in German and Serbian. The corpus of this research consists of 25 expressions excerpted from the appropriate monolingual and bilingual dictionaries of both languages, where the source language is German and the target is Serbian. The corpus was first subjected to a contrastive analysis in order to determine the degree of equivalence between the two languages, with a distinction made between complete, zero and partial equivalence. The corpus was also subjected to a conceptual analysis, with the aim to establish whether the expressions were based on metaphor or metonymy and identify the differences in conceptualisation between the two languages. The results of the analysis showed that German and Serbian largely coincide when it comes to expressions with the mentioned component, and that metonymisation occurs more often in relation to metaphorisation. The expressions with the component Tür/vrata overlap to a considerable extent when it comes to conceptualisation. Doors usually represent obstacles or boundaries between interior and exterior space. In many examples, the key point is whether the door is open or closed. While the closed door implies the inaccessibility of what is in the closed space to all those who are in the external environment, the open door does the opposite. Based on that, we can conclude that phraseological semantics largely preserves the traces of symbolic and semantic values of this term. The differences in the conceptualization of the two languages are most noticeable in the examples where the contrastive observation identified a match only at the semantic level. The scientific methods used in this paper are the interlingual contrastive and conceptual analysis.

The present research is an attempt at systematic and consistent formal analysis of lexical semantics of Serbian secondary aspectual verbs krenuti, uzeti and stati. Theoretical background of the research is the Lexical Projectionist Model proposed by B. Levin (1993), along with the primary postulates of aspectual event segmentation introduced by A. Freed (1979). We claim that the primary lexical meaning of the verbs krenuti, uzeti and stati is the key to their capacity to appear with additional (modal and phase) denotations when they are used as complement-taking verbs. We propose formal lexical specifications which are to encode all the relevant semantic features and complement preferences for each verb under analysis, on the level of the lexicon. Secondary aspectualisers also carry markers of inherent semantics which influence the way in which they denote phase: krenuti is additionally marked for dynamicity and causality, whereas uzeti and stati both express strong dynamic Aktionsart on the constructional (syntactic) level. In terms of event segmentation, krenuti modifies either the onset or the nucleus of the aspectual event, while uzeti and stati as a rule refer to its nucleus. Consequently, out of the three analysed verbs, only krenuti can appear with the complement whose event can be cancelled (cf. Dufey 2006, Nagy 2016, Milivojević 2021c).

The Divine Child was introduced by Carl Gustav Jung as an archetype closely linked to the process of individuation. Beyond the realm of analytical psychology, this peculiar child figure has been observed in myths and folklore and eventually evolved into a literary archetype known alternatively as das fremde Kind (the strange/alien child). Numerous child figures have since been regarded as representations of this archetype, with the titular character of Michael Ende's novel Momo (1973) being one of them. While her initial appearance is evocative of the Divine Child, over the course of the story Momo has to accept her fate as the chosen one in a battle against a mysterious foe, ultimately finding herself in the role of the hero of the story. This paper examines the traits of both the archetype of the Divine Child, as well as that of the Hero – including a variation specific to child characters – with the goal of reconsidering if Momo is truly exemplary of the archetype of the Divine Child. This is done with particular regard to Christopher Vogler's observation that literary archetypes are character functions, rather than fixed types, and as such this paper will discuss how Ende's protagonist is ultimately an example of this fluidity of functions.

This paper provides an analysis of the relationship of dominance and resistance in the novel High Fidelity. The aim of the paper is to identify the elements of popular culture in the novel and thus determine the nature of possible relationships in a patriarchal, capitalist society. The theoretical framework used in the paper is Fiske's theory of popular culture (2001) and the analysis is based on regarding the characters as representatives of dominant and resistant forces. Men and the upper class constitute categories which are dominant in the relationship with subordinate ones – women and the lower class. In addition, the protagonist Rob is the prototype of a man who is subordinate to himself, i.e. to his representation of ideal male traits he lacks, according to his own beliefs. The subordinate put up resistance in different ways. Laura is a successful business woman who possesses a strong character, which places her into a better position than that of Rob. The protagonist uses music as one of the ways to express his resistance. As a lower class member (i.e. a poor entrepreneur), the protagonist opposes upper class members (wealthy entrepreneurs) in that he possesses moral principles which they often lack.