In Cankar’s prose the characters drink aplenty, but they do not ingest any food. According to Kermenauer this happens because Cankar gives shape to ideas, not to people. Differently from Cankar, Marko Marulic fills his poem "Judita" with descriptions of the food consumed both by the heroine herself and by Holofernes’s court. The references to the food are a way of helping the fellow Dalmatians to relate to the biblical tale and to understand it not only as a story referring to the struggle between Syrians and Hebrews, but also as a tale about themselves and their struggles against the Turks. The essay goes on exploring texts in which the cultural differences between religions or nations are shown in food culture as well. "Gorski Vjenac" by Petar Petrović Njegoš is taken into consideration. However, Serbian, Croatian and Bosnian literature rely now on texts by authors who are in exile. These writers have a double identity and belong to their original as well as the new literature of the European or American nation they live in. In exile, food always tastes differently. The recipe of a dish becomes then of primary importance in order to remember the original taste of the past. Some works by Aleksandar Hemon, Stevan Sremac, Ivo Andrić, Danilo Kiš and Dubravka Ugrešić are discussed.

Radomir Konstantinović’s Descartes’ Death has the characteristics of a novel, an autobiographical essay and a philosophical treatise. The protagonist of the novel, Father, professor of Civil Law, lives a life paved by the rules founded on Descartes’ rationality: for him, to serve the Law means to serve Order, perfect legality, repetition. Son admires his Father, but at the same time fears his infallibility and suffers from his tyranny of law, order and habit. In the Son’s eyes, Father is simultaneously almighty law and fear of law, as well as the law that terrorizes everyone around him. Everything changed in the 1990s when chaos ruled the outside world, Serbia and Belgrade: Son endeavoured to establish with this man of form and order such intimate relationships that he could not have achieved during Father’s life, because the Father was Law itself and the Son always and only an imperfect(ed) Disciple. The image related to Father–Lawyer or rather to Law as the art of equilibrium, is the image of a bicycle with the front wheel turned to the left which frequently reappears in the novel. Both in this novel–treatise and in his earlier works, Konstantinović expressed familiarity with postmodern thinking and the philosophical concepts of Montaigne and Pascal; one of the founders of scepticism, Montaigne, witnessed the crisis of values and heralded the impossibility of reaching the truth and the absolutes, while Pascal was doubtful of the proof of bare evidence, placing belief in irrational sensations above the rational conviction. However, in the 1990s one had to find a space also for Descartes, the author of the treatise on method, reason and the value of law. The Son now knows that Pascal’s world belongs to what is direct, to the market, „since directness kills: naivety has bloodyhands“. He understands that Father’s world of rules is closer to him, that the world of dignity, rhetoric, equilibrium and law is closer than the law of directness and the world that lacks legal organization. In the overwhelming darkness the Son first repudiated Montaigne, then Pascal. Descartes remained. Father’s Descartes. When in 1989 Jacques Derrida thought for the first time of a parallel between literature, philosophy and law, he emphasized the precision of the English language in the definitions of the functioning of law: „to enforce the law“ reminds us that justice cannot be properly of the law or right in law if it does not possess force or refer to force from the start. At the beginning of justice there was logos, word or language, but this does not contradict another of Derrida’s statements: in the beginning there was force. And there, when discussing law and force, law as the force, Derrida brings from oblivion the philosophers most prominent in Konstantinović’s work: Descartes, Pascal and Montaigne. Not only with the first, but with the other two as well, Derrida finds the term: the mystical basis of authority, which refers to the authority produced by law and is the result of law. „Laws are not rightful in themselves, we do not respect them because they are rightful but because they possess authority.“ We are faced with two beginner’s works: for the first time Derrida enters in deliberations about the relations between law, literature, philosophy and deconstructivism, while Konstantinović writes a novel– treatise, new in terms of structure and content (and still unperceived), where he explicates the ideas which Derrida deals with more densely and in a philosophical framework in his American Lectures. Derrida propagated the concepts which Konstantinović’s Son–narrator would present in his imaginary discussions with his Father and in his quotations from the thinkers quoted by Derrida. As if the author, Radomir Konstantinović, himself inclined to associative references and quotations applied as verifications of the narrative, believed that the crucial fact in his novel is that the main protagonist is a lawyer, the one who writes the law, defines legislations and deals with legal justice.

The theme of the macabre is analysed here as a product of the popular Serbian culture and religion, rather than as part of its imagery or literature. As a matter of fact, the motif of the danse macabre cannot be found in the Serbian art, due to iconoclasm and to the fact that no references to the brevity of life or equality after death were ever permitted, since they were deemed unsavoury. Nonetheless, the popular Serbian religion is based on animistic conceptions and the faith in an existence after death is at the centre of funerary rituals. Food must be prepared for the dead the day of the funeral and again after eight days, forty days, six months and twelve months: the passage from the realm of the living to that of the dead is believed to be gradual and to last one year. The essay recalls some stories by the Serbian author Borisav Stanković, in which the relationship between the living and the dead in the Serbian culture is thematised. The story “The Dead Man’s Wife” is referred to as an extreme example of the belief of the presence of the dead in life, and narrates how the relationship with the dead husband drives a woman mad.

One of the first best sellers in Croatian literature has been "Korabljica" (“The Ship”) written by Andrjia Kačić Miošić in 1760. The book narrates the events that took place in the south of the Slavic territories from Jesus’ birth to contemporary times, but features no maritime narrative nor any adventurous tale. The reason for its name is due to the fact that the text contains “every kind of thing and event”, just as Noah’s Ark did. Literature uses the image of the vessel as a metaphor for riches because of the wide variety of objects it can store: Serbo-Croatian had many words to define vessels of any kind because the idea of the ship was fascinating and evocative. The representation on the stage of such an all-encompassing idea, however, was not that easy. The essay proposes the reading of three dramas written in what was once called Serbo-Croatian: "Cristobal Colon" by Miroslav Krleža, "Amerikanska jahta u splitskoj luci" by Milan Begović, and "My name is Mitar" by Vida Ognjenović. The three plays take all place (entirely or partially) on a ship and they are all characterised as a sociological study of the period in which they were written. This sociological element is here analysed.

Iz razuđene slike odnosa hrišćana i muslimana koja se može iščitati iz srpske (ali i ostalih južnoslovenskih i balkanskih) književnosti, ovde je izdvojen spev Gorski vijenac (1847) srpskog i crnogorskog pisca Petra Petrovića Njegoša (1813–1851). U procesu oslobađanja pravoslavnog življa od Otomanske imperije krvav obračun Crnogoraca sa islamiziranim sunarodnicima prikazan je kao neminovan; ipak, Njegoš je našao prostora i za objektivnu, ne uvek isključivo negativnu sliku muslimana.

Proza Dubravke Ugrešić je oduvek pronalazila inspiraciju u ruskoj, osobito avangardnoj literaturi. U svih šest poglavlja romana Lisica (2017) autorka se vraća na pitanje koje je sadržano u naslovu proze Pripovijest o tome kako se stvaraju pripovijesti ruskog pisca prve polovine XX veka, Borisa Piljnjaka. Važan deo Piljnjakove priče – osim pitanja o tome kako nastaju priče – jeste autorov susret sa japanskom kulturom. Postupku neprikrivenog, sasvim otvorenog korišćenja tuđeg teksta, autorka je dodala još jedan važan tehnički, konstruktivni segment: ona ispituje, oživljava i u tekst utkiva sop stveni doživljaj čitavog niza geografski udaljenih prostora od Rusije do Japana, ali će u romanu čitalac sresti vrlo detaljne slike Napulja, Torina, Milana, Londona, središnje Amerike, te rodne Hrvatske. Te slike gradova i krajeva sa svih meridijana sveta u romanu su prikazane kao autentični doživljaji naratora, a kritički su fokusirane na stanje u književnosti, kulturi, savremenom društvu

This paper is an introduction to a field mentioned above. It tries to explain how to translate from similar languages when the translator focusses on the expressive, instead of the cognitive function of language. It also tries to define a specificity of drama translation: the stress is on the “physical” level of the translation so that the most important thing is ease of pronunciation, and not the “optical” correspondence between original and translated text. Theater plays were often translated in Serbia, Croatia, Bosnia and Herzegovina and Montenegro from the Slovenian and Macedonian languages; in Slovenia from Serbo-Croatian and Macedonian; in Macedonia from Serbo-Croatian and Slovenian. This paper tries to indentify typical errors in one Slovene translation of a Serbian drama Koštana; it also tries to answer the question of status of Serbian, Croat, and Macedonian drama on Slovene theater stages, and to put together its bibliography.

Slavica Tergestina was founded in 1987 at the University of Trieste by scholars of the Advanced School of Modern Languages for Interpreters and Translators (SSLMIT – Scuola Superiore di Lingue Moderne per Interpreti e Traduttori). After the introductory volume published in 1987, the journal appeared regularly beginning in 1994. Since then, eighteen volumes have been published, adding up to over 250 articles written by researchers from different countries (mostly Russian, Hungarian, Croatian, Serbian and Italian Slavic scholars). The volumes were reviewed in several scientific publications in Russia, Italy, Poland, Hungary and Slovenia. Some volumes focused on a monographic topic

Marija Mitrović evidenzia che nella letteratura croata non si trovano molti riferimenti alla città di Trieste, nonostante la vicinanza geografica tra le due aree. Ciò è dovuto al fatto che molti scrittori croati avevano a priori un’impressione negativa di Trieste, quando l’Istria passò sotto il controllo triestino. Soltanto a partire dagli anni settanta del ventesimo secolo, Trieste compare nella letteratura croata, in particolare nelle opere di Fabrio e Smoje. Nella letteratura serba invece, il "tema Trieste" è affrontato da vari scrittori: Obradovic, figura centrale della letteratura serba di fine Settecento, descrive la città triestina in molti suoi racconti; altri importanti autori serbi di metà Ottocento, come Petrovic Njegas e Vujic, vennero stregati da Trieste. La più grande fonte di ispirazione delle loro opere erano il castello e il parco di Miramare.