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The exonarthex of Gračanica has a rich and complex painted programme, which is a testimony to the medieval kingdom of Serbia ruled by the Nemanjić dynasty, after the arrival of the Ottomans in the Serbian regions. This painted programme has been preserved to a certain extent to this day, although the traces of the ravages of time are clearly visible; it is still possible to read and reconstruct the entire thematic programme, as well as to recognise the iconographic and stylistic features of this part of the church. The exonarthex was painted out several times, as it was repeatedly damaged during the turbulent and destructive centuries (14th, 15th, 16th). It was probably fresco painted after its construction (probably around 1330), but there are no physical remains or written sources testifying to this, while today two layers of fresco paintings are clearly visible in the Gračanica exonarthex. The iconography and themes of the younger layer of fresco paintings from 1570 form a more complex and intricate unity in relation to the one that was there originally. The new frescoes have a clear theological background, devotion to the Virgin Mary, who was also the patron of the Gračanica church. The depiction of the cycle of the Virgin celebrates the role of the Virgin in the Incarnation, foretold in prophetic visions. Almost the entire painted programme around the east portal of the Gračanica exonarthex is dedicated to the Mother of God; additionally, some related depictions are shown there, like the Mother of God on the throne with Christ Emmanuel on her lap surrounded by archangels in the lunette above the entrance. The entire composition was introduced with the theme "From above the prophets have prophesied thee", as shown by the painted busts of six prophets (Isaiah, Solomon, David, Moses, Aaron and Jeremiah) entwined by a decorative vine on the inside of the arch, at the top of which is a waist-high image of Christ giving blessings with both hands. The main aim of this paper is to point out the importance of the restoration and painting of Serbian monasteries during the Ottoman rule since these topics are insufficiently represented in Serbian art history. The paper provides an iconographic analysis of the scenes dedicated to the celebration of the Virgin in the Gračanica exonartex, as well as their theological background.

In The Ivory Woman, Andrić uses dreams to thematize his protagonist's key problem, that is, one important aspect of relationships between men and women, along with signals of generalization (the protagonist's namelessness, the absence of specification of his social standing and duties) that are present in the story. The transformation that the ivory figurine experiences, by becoming a woman of flesh and blood in the protagonist's dream, is given in the framework of all the elements that are, according to C. G. Jung, essential for understanding the dreamer's unconscious experience: his life situation, current state of mind, and his interpretation of his own experience, so we also interpreted this transformation in this context. This is a meaningful, nightmarish dream, in which the protagonist meets an archetypal figure, the anima, his inner woman, who has in fact enshrouded his entire inner space. The protagonist's possessedness by the anima is mirrored in his quickly-changing moods, in the ill will that dominates his life, in the manner that he tells his story, as well as in the fact that his objectivity had been lost in the sea of irrationality. The fantastic narrative, which we interpreted as the protagonist's escape from facing himself, is based on the motif of the demonic woman, which is one of the typical negative forms of the anima. The dream confronts the protagonist with what he doesn't know about himself: he is the one sabotaging his emotional relationships.

The paper provides a diachronic overview of curricula for Serbian Language and Literature courses in secondary schools from 1990, when comprehensive secondary schools were reinstated into the education system of the Republic of Serbia, to present day. The structure and contents of the literary elements were monitored, analyzed, and contrasted. The aim of the curricula analysis in the indicated period is to ascertain and explain the positive and negative aspects of previous reforms to which literary content was exposed, and to, in accordance with the obtained results, draw appropriate conclusions and provide recommendations for their future improvements.

This story of the life paths of the teachers and students of the seminary is told on the trail of a photograph, that is, a tableau of the graduates of the Serbian Orthodox Theological-Teaching School in Prizren, in 1896. It is about their contribution to education, church, Christianity, theology, literature, ethnology, and science. Like other photographs created in studios throughout the Serbian cultural space, they are more than documents, they are an inexhaustible treasure for historians and other cultural workers. They visually remind us of our ancestors and tell us about a time that no longer exists, the time of nobility. Professors and graduates are dressed according to the European style of clothing, unusual for those occasions and that time, when professors had to wear a fez, so as not to be distinguished from citizens of other religions. The place and time of the photograph is the 19th century, the Ottoman Empire, Kosovo Vilayet, the 'Dark Vilayet'! An authentic 1896 photo from Prizren is a true rarity. There is no information on taking photos in the archival material of the Theological School, but one thing is certain, the photography was created in Prizren that year, but the name of the photographer is unknown. There are 27 people on the tableau, rector Ilarion (Ivan) Vesić, eight teachers, Trivun Dimitrijević, Kosta Lozanić, Mihailo S. Tasić, Milan Gajić, Sava Jakić, Danilo (Nedeljković), Vasilije Stojanović, Apostol Filipovic, and 18 graduates, Toma Burković, Ljubomir A. Bulatović Ibrijski, Milutin V. Vukić, Janićije (Naća) Živković, Janko Đorđević, Haralampije Ilić, Pantelija Mandić, Dusan Nekic, Milan Nikšić, Radivoje R. Orlović, Atanasije Petrović, Blagoje Petrović, Obrad Popović, Nikola Rožić, Mladen Stojanović, Petar Ćićarić, Vladimir Popović and Zdravko Tasić. This is the first generation of high school graduates who completed the six-year Serbian Orthodox Theological-Teaching School. The Council of the Theological School declared them capable of being teachers and they were issued with certificates of teacher training. When they finished their education, they were between 17 and 26 years old. Except for one student who continued his education at the Belgrade Theological School, all the others were appointed as teachers. Obviously, the need for trained teachers throughout Old Serbia was great that year. In further service, five students were ordained as priests, one teacher became a merchant. Only one former student finished the Spiritual Academy, and two continued their education after the Theological School. Of the 18 students, five were from Prizren, three from the surrounding area. For the first time, a student from Bosnia attended the Theological School. Four young men were from Macedonia, two from Montenegro, two from the Kingdom of Serbia, and one from Kosovo. Of the nine teachers, four had university degrees, two were monks, which was a requirement for the Theological School. In different years, they were able to make contact with the students and help them not only as teachers, but also as guardians, because it was a boarding school. The goal of the Theological School in Prizren was to educate and form an educated staff of teachers and priests, which it successfully realized. Teachers and priests in Old Serbia were, in addition to their vocation, a kind of national workers and cultural activists because the Theological School moulded them as patriots.

The paper examines the contribution of Đorđe Maletić to the aesthetics of acting. Maletić was a prominent figure in Serbian theater life in the second half of the 19th century, but recently he has been unjustifiably relegated to the margins of domestic theater historiography and theatrology. First, his general aesthetic views are presented, in which he relied eclectically on various sources, mainly on Lessing, Schiller, and Hegel. Subsequently, his thoughts on acting and acting creativity, present in various writings published in the period from 1847 to 1884, are presented and interpreted. Considering these findings, it emerges that Maletić was not only a transmitter of European theatrical achievements into the cultural environment of Serbia but also that he showed a high level of independence in thinking about theater and dramatic art, especially in thinking about the phenomenon of acting. His characterization of the actor as "incarnated beauty, the idea of the beautiful, assumed physicality", who manifests the idea of beauty "on himself, so that he is both a thought and a material for the expression of thoughts, he both acts and is acted upon" - represents the most complete aesthetic interpretation of acting and acting creativity that we can find in the history of Serbian theater thought of the 19th century.

The Cretan Revolt (1866-1869) is part of a broader Christian liberation movement that emerged in the mid-19th century in the Balkans, representing a crucial phase in the long-standing struggle of the Cretans for liberation from Ottoman rule. At the outbreak of the uprising in Crete, Russia was focused on internal reforms, and its Balkan policy aimed to preserve the status quo. However, within Russian diplomacy, a faction aligned with the Slavophiles supported the national movements in the Balkans and encouraged their liberation plans. One of the diplomats closely associated with the Slavophiles was the Russian ambassador in Constantinople, N. P. Ignatiyev, whose diplomacy was centered on collaborating with Christians in Turkey and advancing their liberation efforts. Consequently, the scope of his diplomatic engagement in all matters related to the position of Christians led to the observation that he did not consistently adhere to the instructions from the government in Petrograd. This practice of the Russian representative became particularly apparent in relation to the events in Crete between 1866 and 1869.

Fokus ovog rada predstavlja teorijsko razmatranje estetsko-stilske karakterologije teme Kosovskog boja u slikarstvu epohe srpske moderne. Osnovna paradigma moderne, u okvirima likovnih umetnosti, manifestovala se težnjom za negiranjem i odbacivanjem tradicije akademizma, faktografskog i mimetičkog. Kao stalno prisutna intencija moderne, javlja se potreba za iniciranjem i realizovanjem avangardnih sadržaja, što je podrazumevalo odbacivanje istorijske tematike u umetnosti. Međutim, specifikum kulturno-istorijskih prilika u kojima se konstituisala srpska moderna umetnost uslovio je potrebu za estetskom komunikacijom sa tradicionalnim. Okolnosti u XX veku, u kojima je srpski narod i dalje tragao za definicijom i potvrđivanjem nacionalnog i kulturnog identiteta, suprotno od inicijalnih programa moderne, inicirale su pojavu nacionalno angažovanog slikarstva. Kao jedan od najznačajnijih istorijskih sadržaja u okvirima srpske moderne konstituiše se tema Kosovskog boja. U ovom radu kroz teorijsko-kritičku analizu biće ukazano na kvantitativno-kvalitativne vrednosti slika sa temom Kosovskog boja. Takođe, analizira se veći broj dela koja se do sada nisu pojavljivala u teoriji i stručnoj literaturi. Korespondencija na relaciji modernizam - tradicionalizam - nacionalna tematika uslovili su pluralizam modernističkih i postmodernističkih tendencija u predstavljanju motiva na temu Kosovskog boja. U domenu estetsko-stilskog određenja, slikarstvo sa motivom Kosovske bitke polarizovano je na faktografsko-naturalističko-mimetičke tendencije, s jedne, i simbolističko-ekspresionističko-apstraktne, s druge strane.

U ovom radu razmatraju se mogućnosti prevođenja uzrečica na srodni slovenski jezik (sa srpskog na ruski) na građi Njegoševog speva Šćepan Mali i ruskih prevoda Vladimira Kornilova i Olega Mramornova. Uzrečice su karakteristične za srpski kulturološki kod i nacionalno biće, a Njegoš ih bogato koristi u Šćepanu Malom. Ruski prevod upečatljivo pokazuje diferencijaciju zastupljenosti navedenog žanra u jezičkoj slici sveta i frazeološkom fondu dvaju slovenskih jezika.

The role of teachers in imparting knowledge and facilitating learning is complex and varies across cultures and educational levels. The evolving digital and knowledge society has led to a transformation in education, demanding innovative approaches to teaching and learning and higher education, in particular, is at the forefront of this change, as it prepares students for the future workforce. To develop as effective lecturers, it is crucial for educators to understand the evolving culture of academia and the roles they play within it. Despite the changing landscape of education, there is a lack of understanding regarding how lecturers perceive their roles and competencies in the 21st century. This exploratory study aims to bridge that gap by mapping the self-perception of the lecturers in higher education to identify areas for improvement and develop strategies to enhance teaching effectiveness. The research design for this study is quantitative in nature, employing a questionnaire based on the conceptual framework the 21st-Century Teaching Competences to gather data and draw conclusions on the self-perception of teachers in higher education. The approach involves administering the questionnaire to a convenient sample of 53 lecturers of the University of Priština in Kosovska Mitrovica. The analysis of the survey data suggests that lecturers hold a positive perception of their teaching competencies and generally view themselves as competent in their roles, particularly their proficiency in teacher leadership and content knowledge. However, the study also highlights some challenges and areas that require improvement such as enhancing leadership skills beyond the classroom, addressing the needs of students with special needs, implementing student-centered instructional approaches, and effectively integrating digital technology into teaching practices. By directly addressing the existing gap in knowledge regarding lecturers' perceptions, this study offers practical and actionable insights.

The paper gives a review of high school curricula for Serbian language and literature-the topics of Language and Language Culture from 1990 to the present. The structure, tasks, and contents of the curricula from 1990 and 1991, the innovated curriculum from 2011, and the latest, reformed curriculum were reviewed, analysed, and compared. The comparison aims to determine and analyse their similarities and differences in the field of language and language culture, to observe and highlight their positive and negative aspects, and thus, in accordance with the research results, to draw conclusions and finally make suggestions that would contribute to their further improvement.

In the 21st century, teaching and learning a foreign language obviously includes teaching and learning about culture. In this regard, a new method of teaching English has emerged that is equally focused on language and culture. Teaching English through an intercultural approach actually teaches students about cultures by developing their intercultural communicative competence while at the same time developing their language skills. Although this approach to English language teaching is relatively new, this paper will analyze the basic principles of an intercultural approach to English language teaching, lesson planning, and textbook selection. An intercultural approach to teaching English enables students to understand the differences that can occur in communication between people coming from the English-speaking world; develop skills, attitudes and awareness of different values; beliefs and worldviews in these cultures, at the same time improving language competence and skills as well as getting to know one's own culture. In the real world, however, it should be borne in mind that the acquisition of intercultural competence is never complete and perfect. A successful intercultural communicator does not require perfect knowledge of English and/or cultural competence. There is no perfect model for successful teaching and learning intercultural competence, as there is no complete definition of what an intercultural approach to English language teaching actually encompasses, and whether it is possible to assess objectively students' knowledge upon completion of the course. However, as the world inevitably becomes culturally diverse due to migration for economic and/or political reasons, it is vital that students accumulate intercultural knowledge in a foreign language course, which certainly poses a challenge for the language teachers.

The paper examines a part of the iconographic program in the narthex of the representative church, endowed by the Serbian king Uroš I and dedicated to the Holy Trinity. With its layout, the program is linked to the central field of the wall above the entrance to the nave and bears the characteristics of the focal point of the corresponding whole. It includes a thematic segment with a group of representations that, based on today's knowledge of painted material, can be classified as novelties and exceptional solutions. The cycle of Ecumenical Councils, with the attached depiction of a Serbian council, and the Last Supper, as the core of the group, are viewed from an angle from which they were not illuminated before. The unusual selection of scenes and the unique composition of the thematic group become clearer when one considers the scenes' place on the line that connects three important 'points' of Sopoćani's spatial and programmatic structure on the west-east axis. The 'council wall', with the Last Supper in its 'heart' communicates topographically, visually and semantically with the representation of Pentecost, which signalled the 'identity of the holy place' on the original 'face' of the building in Sopoćani (altered by later painting), at the entrance to the narthex. Moreover, the painted wall is in an equally multiple (topographical, visual, and semantic) correlation with the themes that mark the iconographic program in the sanctuary and around the opening leading into it. Apart from the repeated representation of the Pentecost, this time with a position on the wall field above the opening of the sanctuary apse, and apart from the typological representation of the Holy Trinity, situated in the eastern half of the south choir's vault, the representations in the central part of the apse are particularly relevant for observations about the parallelism and special complementarity of the themes in the sanctuary and the narthex. This is a unity consisting of a 'liturgical' variant of the Last Supper (i.e., Communion of the Apostles) and two scenes of the Appearance of the Risen Christ to the Apostles, identified with the theme of the Sending out of the Apostles-all in the same register-as well as the composition of Officiating Church Fathers in the register below, which as their coevals also includes archbishops of the Serbian Church, positioned immediately below the rendering of the Apostolic Mission. The resulting findings of the present study is the existence of a special connection of the thematic repertoire with the dedication of the church and the reception of that connection as a kind of starting point in the process of envisaging and shaping a whole with a multi-layered meaning. As it appears, a conventional framework was consciously chosen and used as an 'undercover' for additional, daring allusions.