<Record><identifier xmlns="http://purl.org/dc/elements/1.1/">URN:NBN:SI:COL-HODOTF2P</identifier><date>2023</date><creator>Ayyildiz, Nilay Erdem</creator><relation>documents/col/H/URN_NBN_SI_col-HODOTF2P_001.pdf</relation><relation>documents/col/H/URN_NBN_SI_col-HODOTF2P_001.txt</relation><format format_type="issue">1/2</format><format format_type="volume">56</format><format format_type="type">article</format><format format_type="extent">str. 53-65</format><identifier identifier_type="ISSN">0567-784X</identifier><identifier identifier_type="DOI">10.4312/an.56.1-2.53-65</identifier><identifier identifier_type="COBISSID">187965699</identifier><identifier identifier_type="URN">URN:NBN:SI:col-HODOTF2P</identifier><language>eng</language><publisher>Založba Univerze v Ljubljani</publisher><source>Acta neophilologica</source><rights>BY-SA</rights><subject language_type_id="slv">angleška književnost</subject><subject language_type_id="slv">dramatika</subject><subject language_type_id="slv">identiteta</subject><subject language_type_id="slv">kvantum</subject><subject language_type_id="slv">norme</subject><subject language_type_id="slv">performativnost</subject><subject language_type_id="slv">spol</subject><title>gender performativity in Tom Stoppards' Hapgood</title><title>"Who the hell are you?"</title></Record>