Through the concept of ‘Yugospotting’ this article explores how some established post-YU rappers, armed with the rap language and the strong generational knowledge, have constructed common identities in the new supranational social context before their shared rap audiences. What kind of transnational post-Yugoslav rap scene has been constructed by employing inherited ex-Yugo-knowledge and rappers ’hiphopographies’? Could this (mis)sampling of Yugoness and Balkanness be a significant identification base for the future rap generations of the “region”?


This paper presents the intertextual structure of an advertisement narrative, which, with the appearance of the Macintosh, is considered as a cultural phenomenon and an aesthetic determinant of the twentieth century that still defines modern culture. The Apple advertisement for the Macintosh “1984”, directed by Ridley Scott and prompted by the rigid discourse of the PC market of the time, refers to the Orwell’s fiction classic of the same title. In addition to verbal intertextuality, the advertisement also includes visual references that will be considered in this paper. The narrative technique of this one-minute video clip activates the paradigms of spatial coherence and subversions that are associated with utopian and dystopian constructs, thus successfully managing the space and the moment when the Macintosh emerged on the market. A system of uniqueness that is fully oriented to the production of customized consumers in order to gain profit implies creation of a commercial space in which social relationship between the individual and the perceived is established through use and consumption of electronic products and services. This new form of comfort reveals itself as a form of commodity fetishism, which, as a reference to Marx, would be another level of verbal intertextuality. From a collection of technological parts and raw materials, the Macintosh has changed into a “fantastic form” where physical properties express social behaviour. In this way, the commodity expresses something other than the mere sum of its raw materials or labour required for its production. With this innovative marketing approach, through the idea of liberation, information discourse is transformed. The world of numerous and diverse information is opposed to totalitarian regimes – consumer experiences and the power of information will be the force that rules the world. By presenting such an innovative marketing strategy with an emphasis on narrative practices, a new paradigm of commodification was established through the concept of individuality and rebellion against a totalitarian regime.


The aim of this paper is to explore the recent boom of neo-Victorian narratives in today’s literary and mass culture production and to analyse the nature of these fictional returns to the nineteenth century. The paper comments on the global nature of the trend, which seems to transcend the British context and resonate within the wider postmodern cultural framework. The approaches taken by neo-Victorian texts have been very diverse, as have critical reactions to them, ranging from revisionary narratives seeking to unearth marginal voices previously absent from the Victorian text to playful reinventions of well-known figures or tropes highlighting their own artificiality. What most of them share is the desire to revisit and reassess the predominant notions of the Victorian held today and to investigate the potential investment of contemporary cultural discourse in the continuation or discontinuation of such representations.


As a generator of different possible interpretations and experience, a text has always been a virtual object. Convergence of critical theory and new media technologies has not produced a virtual text, but has only raised it to a higher level of the hypertext. The concept of interactivity is present not only as a relation between the reader and the text in the process of producing a meaning, but also as a physical change of the text during reading. Development of new media technologies has led to a large convergence and overlapping theory of intertextuality and hypertext. With hypertext it is possible to overcome resistance and physical detachment of the printed text. The boundary is moved between what is ‘inside’ and ‘outside’, to what is between the ‘center’ and the ‘periphery’. Decentralizing of the text is an important characteristic of the hypertext as the ‘center’ moves from a stable and hierarchized structure to the reader’s own interests and needs. In the center of the hypertext there is the reader, not the author. In this way, the new and revolutionary critical theories of the author, text and the reader, formulated decades ago, have found practical application and confirmation in the digitized area of the new media.


The thesis presented in this paper shows that literature has not completely lost its role of cultural capital. The reason for optimism is found in intertextuality as a key feature of postmodern art. The postmodern method in popular culture involves use of high art stylistic solutions while at the same time the content of popular genres treats very complex issues. We take as an example the television series True Detective, produced by the American HBO network, to show that even in that popular form it is possible to identify features of postmodern art such as double coding, intertextual irony and quotations. Through its themes and motifs, this series has been associated with one of the most significant work of the canonical literature – Dante’s Divine Comedy. Also, one work of popular literature has been explicitly quoted in this series – a collection of stories from the 19th century The King in Yellow by Robert Chambers.


Miloš Crnjanski became familiar with the poetry of the East in Paris, towards the end of the 1920s, when he gathered material for his anthology of Chinese and Japanese poems. This was the moment when cherry blossom, not cherry fruit, entered his writings. While preparing and editing two collections of translated poetry Antologija kineske lirike (1923) and Pesme starog Japana (1928), he also wrote poems featuring the image of cherry blossom as an important symbolic topos. In his poems Sumatra (1920), Poslanica iz Pariza (1920), Povorka (1921), Serbia (1925) and Stražilovo (1921-1929) cherry trees appear to carry a particular symbolic message, especially the blossom. It creates a light, translucent, ethereal and often even mobile poetic image. This image blends the light and the dark, joy and sorrow, physical and metaphysical, life and death. The cherry tree consumed by fog creates an unusual picture in which everything simmers down in the arms of the nature. It may well be the very heart of the metaphysical, transcendental world of Miloš Crnjanski. The cherry entered his poetics from the East, from the lands he had never visited. At the same time, it created a real bond with his native Srem which he had left years before. It was connected to a real image of a foreign land, like Tuscany, where the poet was but a stranger. We can say that cherry blossom connects three spatial entities: the far-away homeland left behind by the poet; the foreign land where he lives as a stranger; and a distant landscape he had never visited.


The main aim of this paper is to demonstrate postmodern concepts exemplified in contemporary film. The first part of the work discusses both the notion of intertextuality recognized as the linchpin of defying postmodern film, and the double coding theory. The most important authors belonging to the field of literary criticism and social theories who significantly contributed to understanding of postmodern textuality are also spotlighted in this part of the work. The second part of the work represents analytic frame where entries of postmodern film are given. The third part of the work is actually a debate on when to start with postmodern analysis along with the argument about what postmodern film actually is and which cinematic  directions can be regarded as postmodern film precursors.