„ЕНГЛЕСКА И НИГДЕ. НИКАД И УВЕК“: ДАЛЕКА ОБАЛА
Карил Филипс: Далека обала, превели с енглеског Аријана Лубурић Цвијановић и Игор Цвијановић.
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Карил Филипс: Далека обала, превели с енглеског Аријана Лубурић Цвијановић и Игор Цвијановић.
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Beginnings are usually regarded as either hard or energizing times that set our inner world in motion. However, there is a beginning that is more important for humanity than any other: the origin of human life and of the world. The knowledge of our origin and the mystery concerning the beginning of the world have been the most intriguing and most engaging issues since man became aware of their own physical and spiritual existence. For many centuries, it was the duty of religion to provide humanity with a teaching about their origin and the foundation of human dignity. However, the 18th and 19th centuries were critical in the treatment of the biblical creation stories in Europe. The debate between misinterpreted creation myth accounts and scientific theories led to a sharpening confrontation between religion and science, but it also divided the believers and resulted in the birth of new theories. Emanuel Swedenborg, an influential theologist of the period, wrote detailed commentaries and genuine tractates related to the topic that influenced the ideology and art of William Blake, a versatile and ingenious artist and thinker of the era, whose influence is still significant today. The aim of this study is to highlight the parallels and contrasts between Blake’s Genesis myth and Swedenborg’s teachings, mainly through the unusual pairing of The [First] Book of Urizen and The Last Judgment, to show the connection between Swedenborg’s unorthodox views and Blake’s ideas about the creation of man and the world.
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Postmodernist Faces of Truth and Fiction in Iris Murdoch’s The Sea, The Sea. This essay analyses Iris Murdoch’s The Sea, The Sea and argues that the concept of truth stands for multiple-faced fiction to be interpreted according to the readers’ vision, culture and education. One’s vision of the world represents one’s truth about the world. Emphasizing the fictionality of truth and inviting the readers to analyze the symbols of the sea and of the “various lights” (Murdoch 77), which stand for different views on the past and the world, Iris Murdoch’s The Sea, The Sea evinces its postmodernist and metafictional condition.
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Art, Depth and Affect in Winter: Metamodernist Contexts of Ali Smith's Novel. The paper discusses Ali Smith’s Winter through the prism of the theory of metamodernism. The novel can be related to the works of authors who reject the cynical sophistication of postmodernist art and appropriate its strategies to focus on authenticity, sincerity, and affect. Drawing on Robin van den Akker, Alison Gibbons, and Timotheus Vermeulen, who maintain that the metamodernist structure of feeling manifests through a mix of/or oscillation between pre-modernist, modernist and postmodernist tropes and devices, the author considers Ali Smith’s novel a mixture of postmodernist, modernist and romantic elements and explores how these elements function in the production of the metamodernist effect of her novel.
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Reading Habits in Jane Austen’s Northanger Abbey. This article focuses on the way Catherine Morland, Northanger Abbey’s heroine, is influenced and even guided by the literature she either chooses or is given to read. Her reading habits, as well as her changing typologies as a reader, influence both the development of her character and the narrative. This study also debunks the idea that Northanger Abbey is a parody of Gothic fiction, contextualizing book reading in an age when the novel was yet to be considered a respectable literary genre.
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Review of: Ljubica Matek, English Literature in Context. From Romanticism until the Late Twentieth Century, Filozofski fakultet Sveučilišta Josipa Jurja Strossmayera u Osijeku, Osijek, 2020., 150 str.
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Poetry written by Joseph R. Kipling (Aкo; Човек са два лика; Хар Диалина љубавна песма; Сестина о краљевској скитници; Ми и они; Пророци у свом крају; Химна телесним мукама; Богови записа древних)
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Among the twentieth-century writers who made the city a part of their discourse aiming at revealing both self-identity and social meanings is James Joyce, a major representative of modernism. Portrait is a Bildungsroman which proves that this type of fiction is a psychological novel about an individual who strives to acquire a self, or, having a self, he or she embarks on a quest for a better self. Portrait prefigures modernism, Joyce making use of his aesthetic concentration to achieve literary innovation by exploring new fields of human experience and developing new means of artistic expression in his focus on individual, primarily psychological, existence. The present study argues about the link between the protagonist and the chronotope of the city as a factor of synthesis of the formative experience which in this novel ends in departure and search, whereas the Bildung (self or identity) is still to be acquired and asserted.
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The article attempts to outline in brief the results of the complex interaction between elite and popular cultures in Shakespeare’s age, illuminating the main tendencies with examples taken from William Shakespeare’s, Ben Jonson’s and other lesser known contemporary authors’ (Philip Stubbes, Nicholas Breton) works, focusing on how public theatre and popular book publishing used and transformed originally oral and ritual non-profit productions, turning them into commercial and sometimes political or critical forms. The research is based mostly on a wider range of written records of different status, genre and origin, thus hoping to clarify general tendencies. Critical distincion is also applied with regard to not only the consequences of transforming ritual-oral phenomena into printed text, as explained in Jan Assmann’s theory of cultural memory, but also to different authors’ varying methods of alluding to phenomena of contemporary popular culture.
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The Magus, by John Fowles, focuses primarily on woman-man relations, responsibility, and love centered around sex and self-quest themes. carried out by Nicholas Urfe, in Praxos, Greece. Initially, Nicholas, who openly expresses that he has behaved irresponsibly as regards sex and women, is escaping from responsibility, devotion and falling in love. He does not maintain his dating with women for a long time, he avoids being in the same city and tries to find a new relationship to forget the previous one. Yet, Alison destroys this chain of behaviour. Nicholas accepts Greece to get away from emotions and to make a fresh start. There, he meets a very rich and secret man, Mr. Conchis. Soon, he finds himself in a magical game with mythological figures, theatre, dance, music and sex. This game ends up with purificaton of his emotions, a new perception of love and maturation. The inner journey he undergoes will unite him with Alison in pure love. In this article, the role of “playfulness” (an important element of postmodern fiction) in constructing personality will be analyzed. In the Magus, where a two-layered play is performed, the first layer of meaning will be handled as postmodern playfulness, and the play element constructed and performed by Conchis (as the Magus, after whom the title of the novel is selected) and such characters as Julie/Lily in order to educate Nicholas and shatter his Victorian oriented perception of the world will be examined. The main objective in this article is to analyse Nicholas’s inner journey to discovery of his private world and gaining of a deep insight, with such themes as sex, perception, love and responsibility in relation with the element of postmodern playfulness.
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Bend in the River by V. S. Naipaul focuses on political, economic and cultural structure of an unnamed country which has gained independence after experiencing colonialism. The fact that the name of the country is ungiven helps the novel have an allegorical aspect. The author wants to emphasize the fact that almost all countries with an experience of colonization have passed through similar processes in the independence years. The narrative makes implicit references to central Africa. Moreover, this novel is remarkable in that it has a special interest in history, place and space. In addition to the comments by the central character Salim and others on history and space, the narrative itself offers the experience of livedness to the reader together with changing perceptions of history and space.
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The article discusses the way defamiliarization is achieved in Martin Amis’s novel Money: A Suicide Note (1984) through parody, the comical perspective, and the metafictional elements. In the introduction the concept of defamiliarization is briefly explained while the first section describes the use of parody in the novel. Amis’s book parodies several literary techniques and is also a parody – as well as a critique – of the 1980s Britain and America, especially its consumerist ethos. By adopting a comical perspective, Amis creates a distancing effect between himself and the novel’s protagonist, John Self. He is an unreliable and unlikable narrator and often his description borders on the grotesque, which also adds to the defamiliarization effect. The metafictional elements in the novel, discussed in the second section, are also important and they contribute to the distancing effect, by defamiliarizing what is commonly expected from a work of fiction. One of the most important metafictional (or self-referential) elements is the inclusion of the author as a character in the novel. This technique encourages the reader to re-evaluate the relation the author has with their own work, which is now seen from a defamiliarized perspective.
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The paper explores the origins, development and basic genre features of сommedia dell'arte. The first part of the paper deals with the archetypal comic elements of сommedia dell'arte. The historical significance of this type of comedy, as Pandolfi (1957) stresses, lies in the fact that it unequivocally confirms the autonomy of theatrical art by imposing the neverending quest for the freedom to critically examine all the aspects of social life without any dose of censorship or limitations. Its comic pattern has the roots in the grotesque and absurdity of real life, which allows for the actors to fully affirm their artistic aspirations.
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In the double poetic of W. B. Yeats, a certain relation between poems is initiated; and this relation is not only interpreted by means of various approaches to the theories of intertextuality but rather the theory of deconstruction as well. Yeats makes it so his poems lean on one another, creating in his poetic practice a self-referentiality, owing to the fact that he uses his own poetry as a basis for further verse-creation. Reality is, in fact, art, which is why in the space between poems a narrative pointed toward diverse themes is formed. One of these themes is art and the poet’s experience of creating a work of art which the poet showcases in his own writings through indications such as repeated verses or themes that guide the reader into a multifaceted nexus of meaning and space between poems in which they create and write a new work of art in the form of an interpretation.
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Arthur Conan Doyle famously popularised science in his series of detective stories by placing its three constitutive elements (scientific knowledge, the collection of evidence, and art of making inferences), in his protagonist Sherlock Holmes. The legacy is present in contemporary crime fiction, but the competencies have been distributed among a group of individuals involved in the investigation. This distribution has affected and changed the position of the detective vis-à-vis scientific expertise. Science, chiefly in the form of different branches of forensics, is as indispensable as the detective, and authors have been working out different ways of making the two work together. As an example of this cooperation, the paper examines Mark Billingham’s 2015 novel Time of Death.
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Despite Othello and Desdemona’s “love story” being a subdued one—it culminates in what one might call a triumph of common sense (“Upon this hint I spake”)—discourses of love inhabit Othello, from crude images, to those marked by medical underpinnings and courtly ideals. To complicate matters, Iago challenges Othello’s reliance on knowledge derived from common sense and takes advantage of his “open nature” to initiate him into his own brand of “critical reading.” This paper calls into question the play’s reliance on a “flawed love” by attempting to construct a phenomenology of love that flows from the discourses shaping Othello’s experience of attachment, as well as his own efforts to formulate it.
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In this paper I analyze the notions of Nature and Law that gravitate in Rudyard Kipling’s The Jungle Book. Based on different opinions and historical events, it explores the destabilization of the border that separated the natural and the social in colonial India. The content and scope of the Rule of Law of the imperial centers is also worked in relation to the “non-human” subjects that inhabited the colonial territories. It is observed that, in the Jungle Book, the line that separates the social and the natural is a border in constant movement. It is concluded that the destabilization of spaces and subjectivities invites a reflection on the lodging of strangers, nonhumanized and dehumanized beings that inhabit our communities.
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In this paper, we bring together Victorian literature, primarily Alice in Wonderland by Lewis Carroll and the poem about a wounded deer by Emily Dickinson, and Roger Fenton’s photographs from the Crimean War and his photographs of deer. Thereby, a parallel is drawn between the powerful symbolism of the deer and its transformation in Victorian literature on the one hand, and the depiction of a wounded soldier in Fenton’s photographs. By comparing scenes from war photographs, deer photographs, and the photograph of a wounded soldier, with scenes described in Victorian literature, we try to penetrate deeper into the photograph itself, using the richness of the literary language. We also discover that which photography and its visual language make very clear to us, which literature has either missed or needs too many words to achieve a similar effect. Considering that the relationship between literature and photography, in the context of the so-called photo-literature, is extremely complex, we try to shed some light on it using a modest sample of segments drawn from a few works of literature, and photographs by Roger Fenton.
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From the viewpoint of the genre, Heart of Darkness comprises all the features that pertain to modernist short fiction. However, the novella, published as early as in 1899, predates the golden age of modernism by quite a period of time. Mythopoetic space of modernist work represents its inner dimension, rife with images of symbolic and archetypal significance and their connotations. In works organized by conscious myth-making, this space is often created by alluding to archaic, biblical, or Greco-Roman cosmogonies and eschatological myths, along with allusions to ‘sacred and forbidden’ knowledge, esoteric texts, and widespread intercultural icons. Apart from special intellectualism, all such texts are unified by the common feature of non-mimetic attitude towards reality. As early as at the end of the 19th century Joseph Conrad was first to depict such an image – fictional African jungle and the winding waterway of the river, which emerges as the formative symbolic image of the space. All these symbolic and associative images distinguish the mythopoetic space of Heart of Darkness as a very important subtext – a kind of in-depth ‘text within the text’, or meta-text. It is perceived differently from the surface meaning of the work, and its symbolic and semantic connotations indicate a different kind of reality – not the one which is directly conveyed in Heart of Darkness, but as if it was ‘something else’, something specifically vague and indefinite, but ubiquitous in Conrad’s novella
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