The paper sheds light on the methodological conveniences that can be achieved in teaching by studying the works from Jelena J. Dimitrijević’s American scope of topics. The analysis of representative reformed teaching plans and programs shows that they are progressive in terms of their theoretical formulations, but not in terms of their very content. The paper explains the educational outcomes, standards, competences, teaching goals, methods, and principles that can be achieved in a classroom interpretation of Jelena J. Dimitrijević’s works. It re-evaluates the methodological activities (motivation, interpretation, and localization) and correlations that are used in the classroom examination of works by this Serbian modernist woman author. Finally, the paper offers a methodological suggestion for research assignments and the dynamics of interpretation of “The American Woman” story. 

This article analyzes a collection of short stories Iz prošlosti [From the Past] by Isidora Sekulić and Rebecca West’s novel The Return of the Soldier, trying to show how they describe the civil society during World War I. As women who are not actively participating in the battles, both authors spend the war in their respective civil societies and examine how different social groups perceive this historical event. In the end, both of them focus on distinguishable characters who grow to become the representatives of the entire generation, thus combining the individual and collective. Isidora Sekulić’s short stories thematize the life of Serbs in Vojvodina and their wartime transition from oppression to liberation, which makes the collection Iz prošlosti an important part of not just her literary engagement, but the entire corpus of the Serbian prose that speaks of this war. On the other hand, Rebecca West’s novel analyzes feminine experience of the war and the everyday life far away from the front, but also introduces the topic of psychological trauma as a consequence of the war and psychoanalysis as a way to deal with that trauma.

The focus of this paper is the modern subjectivity and the modern attitude towards the world of Jelisaveta Načić (1878–1955), the first woman architect educated in Serbia, on which she builds her existence and individuality in the society of 19^th-century Serbia. At that time, Serbia was just beginning to modernize and, under the pressure of that time, change the existing values. In turbulent times exemplified by the changes of rulers, dynasties, ideologies, the state, the patriarchal society and the stereotypes of relations between the sexes, the self-awareness of the creative potentials and the personal and professional experience of Jelisaveta Načić were not common among women. Free from numerous frameworks traditionally imposed on women, she stepped into the world of "people" in which she established herself as an active creator of buildings that earned her a place in the history of architecture.

Another focal point of this paper is the consideration of the reactions of professional circles, the public and the Serbian press to the life and work of Jelisaveta Načić. The paper is supported by photographs of some of her numerous architectural achievements. This confirms the thesis that architectural works can be read as narratives because they have the capacity to transpose tradition into other epochs – they can provide inspiration while testifying to the time of their creation, social movements and the time that followed, and also stand as testimonies of their creators.

The article presents the forms and ways in which the cultural transmission of Zofka Kveder took place. It explains in which cultural spaces she worked and how she established personal contacts with artists. Zofka Kveder worked in a multidirectional way, as she promoted Slovene culture in the new cultural environments she moved into, and acquainted the Slovene cultural space with the achievements of foreign artists. She was also a mediator of ideas: feminism, Yugoslavism, and ideas about coexistence and mutual respect between different cultures. Zofka Kveder's translation oeuvre is very rich and almost unexplored so far, which opens up possibilities for new research.

The topic of the article is the national discourse in the literary texts and feminist thought of the Serbian philosopher, feminist, and writer Julka Chlapec-Djordjević (1882–1969) regarding her Serbian and Czech identity, in the context of her cosmopolitan ideas and in the context of her “Prague period” of writing (1922–1945). She was of Serbian origin, but nevertheless for most of her writing career she lived in democratic Prague and participated in open Czech society before the Second World War. In that time and place, she – already in her forties – became an outspoken feminist and a writer. In Prague she also became a mediator between different cultures: “ex-Austrian”, Czech, and Serbian. This study examines her interactions with the social, political, and literary movements of the two different countries. In her remarks I emphasize how she was very familiar with Czech and Serbian culture, history, and literature – and also that of Europe and America.

From her writing, I could infer that she was a Serbian patriot who lived in Prague and had a Serbian and Czech identity. On the other hand, in her texts she was a passionate and subversive intellectual: a “person of letters”, a nomadic and transnational intellectual with a great knowledge of philosophy, sociology, and also culture and literature of the globalised (in every sense of the word) world.

The paper points to the importance of the figure of the female traveller in the processes of shaping the feminist discourse in Serbian/Yugoslav culture at the start of the 20^th century. This is still an insufficiently researched and conceptualised figure of female activism, which encompasses the radical practice of acting in the context of patriarchal gender policy, because it is founded in internationalism, cosmopolitanism and nomadism. The focus of the research is on representative feminist projects and authors, the almanac Srpkinja (The Serbian Woman), the journal Jugoslovenska žena (The Yugoslav Woman), Zofka Kveder and Julka Hlapec Đorđević. Also, we will examine the literary work of women of that period from the perspective of female mobility, that is, travel as an emancipatory project, and point to important research potentials that this corpus of texts offers.

The topic of this paper is the female portrait genre in the magazine Yugoslav Woman, which was published from 1917 to 1920 in Zagreb. Its editor-in-chief, Slovenian writer Zofka Kveder, turned the magazine into a hub for building a network of distinguished women from different Slavic countries. Together with magazine contributors, she published biographies, as well as literary reviews of the works of Slavic women writers. Thus, they played a part in developing the idea of Slavic feminism and Slavic women’s literary history. Portraits were written about women writers, as well as women in science, historical figures, humanitarian workers and artists. Therefore, aside from transcending state borders, the magazine has both a diachronic and synchronic character, since the texts were dedicated to notable women throughout history and their counterparts at the time.

This article aims to present the work of the Spanish philosopher Maria Zambrano (1904-1991) to Serbian audience. Her name and work were enshrouded in silence in Spain itself until the last decades of the 20^th century. Zambrano cultivated a large part of her intellectual activities in exile during the Spanish Civil War. After returning to Spain almost half a century later, in 1988, she received the highest national recognition for literature, the Cervantes Prize. Anthropological existentialism, political and social engagement and Spain’s fate are some of the main topics on which Zambrano reflects in different ways in her numerous published books. The scope of her thought, which follows many postulates of Spinoza’s ethics, is now finally available in the first complete edition of Maria Zambrano’s collected works in Spanish, which opens the possibility of a systematic approach to certainly one of the greatest figures of Spanish philosophy.

The article analyses the literary legacy of Concepcion Arenal, one of the first feminists in Spain. Working in diverse areas, this activist and reformer made an immeasurable contribution to the struggle for a free and just society during the second half of the 19^th century. The first section of the paper provides an insight into her achievements in humanitarian, criminal, and international law, as well as the prison reform, while the second part contrasts the author’s engagement in resolving the social issues of the era, the struggle for human rights, especially labour and women’s rights. Special attention is paid to Concepcion Arenal’s endeavours in the field of female emancipation in Spain, entailing primarily the right to education and work. On the selected literary corpus, which consists of her most important feminist studies: A Woman of the Future and Women’s Education, the most important postulates of early feminism in Spain are analysed through a descriptive review of the content of the texts. The importance of the Spanish author’s literary thought at that moment and its influence on the future generations of Spanish feminists are also re-examined.

Orlando is a novel which is difficult to define regarding the literary genre. It is sometimes considered a phantasy – biography, philosophical biography, novel about writers, parody of a biography and the author herself named it as a „writer's holiday“. The aim of the paper is to point out to new possibilities of interpreting Orlando as a parody of a Bildungsroman. The Bildungsroman is considered as a bond between an autobiography (Jacobs and Krause, Dilthay) and picaresque novel (Miles). The paper challenges the real historical time in the novel and the role of the omniscient narrator. The final Orlando's maturing in the sense of an androgynous creature suggests the utopian idea of joining male and female mind in a unique experience.

The article aims to disclose how the encounters with Drainac changed Bagryana’s poetry and her perception of poetic language and herself. For that purpose, the poetry of Bagryana before 1930, mainly the key poems from “The Eternal and Holy”, will be analysed. The views expressed in those poetic strophes will be related to Drainac’s own poetic texts from the 1920s and his ideas on aesthetics and writing as expressed in the magazine “Hypnos”. Then the article will proceed to examine Bagryana’s 1930-31 poems and the tangible alteration in her wording, images and poetic rhythm. The final underlying question this article attempts to answer is about the struggle of poetic language to reinvent itself while incorporating and reassembling the poet’s everyday life and encounters within the poems’ structure.

The aim of this paper is twofold. Firstly, to present the digital Museum of Women of Montenegro and the ways in which this initiative challenges the boundaries between public and private history by collecting and classifying data on the cultural, social, scientific and political work of women in Montenegro, mostly in the 20^th century. Furthermore, the paper aims to contextualize this digital museum in relation to the development of feminist theory in the second half of the 20^th century – i.e. in relation to radical and cultural feminism. Finally, the paper will discuss how the encounter of digital humanities as a method of study and the feminist perspective on history contributes to contemporary tendencies in (re)writing women’s history, that is, how local initiatives such as the Museum of Women of Montenegro fit into global trends in women’s studies.