While the study Female Print and the Culture of Femininity, Женска штампа и култура женствености, published 25 years ago, determined that the printing of heart is the medium of the culture of femininity, which supports the traditional perception of women and female nature, contemporary insights into the themes of this print reveal its emphasized orientation towards consumption as the main theme, and the heroine of this consumption – the shopaholic. Today, in Serbia, two types of print for women are dominant: luxurious, licensed, relatively expensive, low circulation glossy magazines with content dominated by His Majesty the Advertisement, and cheap, popular, sometimes licensed print for women with dominant content of practical and advisory orientation. The increasingly scarce local and traditional woman's magazines of general type are surviving the competition with difficulty.

Serbian feminist counter-public began to develop during the 1860s among the Serbian intellectuals in the Austro-Hungarian Empire, but it didn't deserve its name until the between-two-Wars period in the state frame of the Kingdom SHS/Yugoslavia (1918–1941). Like the public work of The United Serbian Youth and of several authors devoted to women's rights, the works of Draga Gavrilović have also been strongly marked by feminism. Her Girl's Novel represents a special kind of novel which simultaneously belongs to literature and to journalism. Since it was published during the 1889 as a serial novel (a specifically periodical genre), it was strongly connected to its context – journal Javor and Serbian (and Austro-Hungarian) press of the time – and was, therefore, directly involved in the (changes of) bourgeois public sphere of this 'dislocated' society. The novel was both a depiction of emerging feminist counterpublic and its active actor. By introducing the critique of bourgeois marriage and patriarchal norms, it appealed to (passive) women's reading public, and took part in the long process of forming the feminist public sphere as an alternative discursive arena or subaltern counter-public (Nancy Fraser). Through detailed representing of the characters' dialogues as public reasoning on the subjects of general interest, the novel showed the emergence of the public sphere in a way Habermas described it in his influential book The Structural Transformation of the Public Sphere. The specificity of the feminist public sphere seems to be in the new public places: a girl's bed/room, for example, becomes a public space and a public sphere when women start to discuss their interests in it.

This paper analyzes journal Womаn [Žena], which was launched and edited by Milica Tomić. Contextualization of the editorial policy of the journal shows its emancipatory-enlightening tendency, with special analysis of the role and importance of literary contributions. The aim of this paper is to present the role and the place of literature in the emancipatory process, as well as to show that Womаn [Žena] was a role model for the corps of journals with similar orientations in the history of the press that appeal to women.

This essay explores various cultural and pedagogical discourses of sexuality and sexual conduct. Those discourses were important for the processes of formation of the national state and its “proper” citizens. The analysis tried to prove that many concepts, ideas and knowledge(s) “travelled” from the Western countries to Serbia, where they were appropriated without any changes. To do this, the author has analysed how category of “race” was utilized in the Serbian “conduct books” and women’s magazines. In conclusion, the author pointed out the significance of historical examination of identities, which should help us form more reflexive and critical attitudes towards cultural heritage and traditions.

Using discourse analysis, this paper examines the female readers’ attitudes towards fashion and clothing which were expressed in their letters published in the journal Women’s world: the organ of Serbian women’s charity associations. The first part of the paper describes the programme and dominant ideology of fashion that was promoted in the journal. That ideology is then compared to opinions and attitudes that are expressed in the letters of female readers. Final analysis observes the connection between fashion and notions of tradition, moral, and emancipation of women.

The paper’s intention is to present how Ottoman Greek women challenged social inequalities through press, during the Tanzimat period and up to the 1908 Constitutional Reform. The study is based on three journals published in Istanbul, namely Kypseli (1845), Eurydice (1870-1873) and Bosporis (1899-1907), and focused on the journals’ discourses on education inequalities. The debates on women’s education, the argumentation and philosophical platforms provided, illustrate the changing contents of the notions like “equality”, “inequality”, “social injustice” and “female emancipation”. The paper will try to evince the impact of the changing ideologies and political events/circumstances on the changing content of the educational debates and on the declining “feminist” discourse, reflected in the aforementioned journals.
 

Taking as a starting point the association between embroidery and language conveyed by the Greek myth of Filomela and Procne, this article examines the relationship between social status and ornaments like embroidery and lace. In order to illustrate this relationship an example is selected form the letters exchanged between the Marquise of Alorna and her Father where a connection is established between the production of these 'feminine' crafts, women's culture and womens writing, in the XVIII^th Century.

The paper examines the ways in which both the transfer and the reception of French literary and cultural models are realized in the opus of Jelena Dimitrijević. It is shown how her characters see France and how they form a picture that soon turns out to be pure illusion – delusion. In his research, the author relies considerably on a relatively young branch of the French comparatist school - imagology. The author introduces some of its methods and terms (from Baldensperger to Pageaux), with a special emphasis on the comparative-imagological approach and its outstanding representative – a contemporary comparatist Daniel-Henri Pageaux. He also uses the terminology originating form the Russian comparative literature, as well as the one from the French post-structuralist criticism which is relevant for this study. After the theoretical introduction, the possibilities of application of the stated methods in the work of Jelena Dimitrijević have been examined, entirely in the context of French culture and the French thought. In the foreground, there is the issue of the Eastern reception of Western culture and vice-versa: the East seen through the eyes of foreign women who live and travel there. Finally, the aim of this paper is to emphasize the imaginary character of the constructed image and its real consequences.

Abstract translated by Jelena Višnjić

The position of Serbian women writers regarding the First World War is a specific issue and one that has largely been left unexamined. There are several reasons for this; some of them are political, some are literary. First, the war had a distinctive character in Serbia – it was considered as the final stage in the process of Serbian national liberation, which culminated, or at the least, was intended to culminate, in the creation of a new, multinational state – making it extremely difficult to draw direct comparisons between Serbian women's engagement in the war and that of other nations'. Second, Serbian women writers' arrival on the literary scene in the pre-war years had a decisive influence on their writing, limiting them to genres, themes, and forms, traditionally linked to "feminine" values. It cannot be easily assessed to what extent the experience of War shaped their subsequent literary choices, and generalizations should, if possible, be avoided. However, by examining individual cases, we can maybe arrive at a better understanding of the multifaceted reality of World War I. This paper attempts to do so by examining the involvement of Serbia's most distinguished pre-war poetess, Danica Marković, in the 1917 uprising against the Bulgarian authorities, and the account of this experience in her poem "Twelve thousand" and her testimony "Impressions from the Toplica uprising".

The text points to the fundamental characteristics of Jovanaka Hrvaćanin's works in the context of Serbian literature; it points to two thematically and formally different parts of her opus. The most valuable part of her oeuvre (Pesme neviđenom, novel Neviđeni and Zapisi) was written during the interwar period. It is filled with the central experience of authoress' growing up and it reveals the basic characteristics of her poetics: conciseness, orientation to introspection, inner experiences and confiding in the worthy interlocutor. The spiritus movens of her creation and the basis of the coherence of the created text is her longing for an ideal, for love as an integral experience and the true other.

The paper presents the problem of different forms of nomadism of Milena Pavlović Barilli (1909-1945), the painter and poet who created in the interwar period. She circulated between Serbian and Italian, German and French, Spanish and American languages and cultures, enriching her artistic work by the elements of all of them. The first part of the article recalls definitions of nomadism as an intellectual and artistic way of thinking and creating given by Zygmunt Bauman, Gilles Deleuze and Félix Guattari and Rosi Braidotti, the author of the fundamental book Nomadic Subjects. The following parts of the paper introduce the typology of different forms of Pavlović Barilli's nomadism. Six main nomadic forms are suggested and analyzed: her national/ethnic nomadism, her language nomadism, the artistic/esthetic nomadism, the gender nomadism and the cultural one.