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The aim of the present study is to understand the particular relation between the real and the imaginary in Pierre Pevel’s novel Les Enchantements d’Ambremer by analyzing how these two separate modes interact and contribute to the creation of a unique fantasy universe. The author, an important figure of French fantasy literature, has shown predilection for combining history and fancy multiple times also in his other series, such as La trilogie de Wielstadt, in which the Thirty Years’ War is reimagined in the context of a fantasy story. The same model appears in Le Paris de Merveilles, another trilogy incorporating elements of the real in the framework of a fantasy narrative. The structure of the presented world may be interpreted as being composed of several layers or sets, whereby each contributes to the construction of one cohesive universe. The traces of extra‑ literary reality provide the reader with the point of departure and make the fantasy world more familiar. They also constitute the basis for modifications allowing another version of the city of Paris to be born. This alternative French capital is deeply influenced by the neighboring land of magic, inhabited by fairies, gnomes and other fantastic creatures, thus constituting the other extreme as opposed to the references to reality.
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The aim of this article is to study and question the specifics of the Japanese fantastic in literature and cinema; through the prism of the socio‑historical context and the literary evolution (by considering; for example; the assimilation of Western influences on modern Japanese culture and the blend of folkloric imagery and modernity). The fantastic in Japanese literature develops an atmosphere of otherness and strangeness; a representation of the empirical reality that creates a liminal world; where the supernatural becomes almost commonplace and acceptable; as can be seen in Haruki Murakami’s fiction. This brings to another aim of this study; which is to look the Japanese attitude toward the “real”; insofar as this monistic attitude is markedly different from the dualistic conception of the world in force in Western countries. Since the supernatural is omnipresent throughout Japanese culture and society; the Japanese fantastic is not based on traumatic events whose anxiogenic character creates fear. This leads us directly to the question of the particular fictional space identified in the Japanese fantastic.
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Since the end of the 20th century; the phenomenon of young adult imaginary literature – originated in the Anglo‑American world – has spread to France; resulting in the creation of a new literary category. Thanks to translations of bestsellers such as The Golden Compass by Philip Pullman or Harry Potter by J.K. Rowling; this literature established itself an important place in French publishing industry. Nevertheless; it is clear that this literary category often escapes a strict and unanimous typology; especially since the generic categories differ according to cultural areas. Therefore; this study will aim to reveal the characteristic of this vaguely defined literature; in order to determine the elements of its definition through the prism of French reception.
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U „građanskom ratu sećanja” ovih dana je na nov način oživljen Sarajevski atentat. Okvir je ostao tanato-politički, ali se više ne eksploatiše samožrtvovanje Principa nego smrt Ferdinanda. Ko je odgovoran za to što su mladobosanci od tiranoubica postali teroristi? Svi oni u regionu koji strepe od jugoslovenstva i svi oni iz okruženja koji žele da rasterete vlastite nacije od imperijalističke odgovornosti za klanicu Prvog svetskog rata. Da li će oni uveriti javnost da su atentatori bili teroristi? Verovatno hoće zato što Princip danas nema valjanog advokata. Srušene su one strukture koje su Principa iznedrile i koje su ga docnije opravdano heroizovale. Država Jugoslavija je Principu s razlogom dizala spomenike i po njemu imenovala ulice. Danas nikakva kohorta blistavih istoričara ne može odbraniti Principa zato što nema južnoslovenske države kao ostvarenja mutnog ideala koji je vodio mladobosance. A što se rečena država danas više shvata kao iluzija ili kao tamnica to su veće šanse da Princip o neslavnom jubileju bude stigmatizovan kao terorista.
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Kasnim sa reagovanjem jer sam se sve nadao da će ovo umesto mene napisati neko drugi. A nije. Možda je kašnjenje na mestu, zbog pijeteta prema Milunki Savić, kojom se svi zajedno nečasno poštapamo. Istina, Dejan Ilić je na Peščaniku 15. novembra dao umestan impuls, ali se na tome i završilo. Reč je naime o tome kako je četnički vojvoda Tomislav Nikolić, u svojstvu predsednika Srbije, iskoristio naknadnu sahranu Milunke u Aleji velikana da ideološki našminka časnu pokojnicu. Mislim na ovo što je rekao: Tako je Milunka Savić podelila sudbinu Srbije i bila nevidljiva, neprimetna, beznačajna – ne za Srbiju već za komunističku Jugoslaviju… pa dalje: Zato što je ostala Srpkinja i srpski borac, a nije postala Jugoslovenka i nije bila jugoslovenski partizan… i još: …da je jugoslovenska ideologija, doktrina umanjivanja značaja svega što je srpsko, gurnula u mrak Srbiju i njenu tradiciju, a za njom i sve velikane ratova, kulture, privrede… – tako je govorio imenovani.
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Povodom izložbe „Kraljevski namesnici (1934–1941)“ Pre skoro mesec dana u Domu narodne skupštine je otvorena izložba „Kraljevski namesnici (1934– 1941)“. Iako je proteklo izvesno vreme od otvaranja izložbe, a za ovu temu sam veoma zainteresovan, nije bilo umesno da o izložbi pišem pre nego što je posetim – što sam tek nedavno i učinio, pa otuda i ovaj relativno zakasneli izveštaj.
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Davno, gotovo da se ne mogu sjetiti godine, moj otac me poveo sa svojom firmom na ekskurziju u Drvar. Važna napomena je – stari je radio kao policijski inspektor – cijeli autobus je bio pun policije. Šofer, ohrabren sastavom tima u autobusu, nije poštovao ograničenja te je put prolazio brzo i uzbudljivo. Improvizovani desant na Drvar je bio razlog našeg putovanja. Bila je to odlična prilika da se u svom sjaju pokaže tadašnje stanje jugoslovenskih RV i PVO jedinica. Bivši partizani su svuda uokolo pričali svoje ratničke priče sjećajući se kako su spasili Vrhovnog komadanta u operaciji Konjićev skok.
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U oktobru 2011. putovala sam u New York, i već drugi ili treći dan nakon dolaska uputila sam se prema Wall Streetu, i ne provjerivši gdje se točno nalazi Zuccotti Park. Izašavši iz metroa ugledala sam, na sreću, informacijski punkt.
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