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The article attempts to indicate a change in the means of representing the Shoah. The latter is more and more frequently described with the use of the means suggested by popular culture. An attempt was made to reconstruct the evolution of the discourse of the Shoah, with special reference to the contemporary representations which were discussed on the basis of the example of the comic book genre. The subject of the Holocaust comic book was treated in a comprehensive manner by exploring its history, constitutive features and criticism. The comic book entitled "Achtung Zelig! Druga wojna" by Krzysztof Gawronkiewicz and Krystian Rosenberg was used as an example to illustrate the problem which is engaged in the article. Special attention was devoted to its genesis, its realisation of the features peculiar to the genre, its innovative nature and reception. There is an indication of the sources of the surreal convention which was employed by the Polish authors. This convention may have originated, among other things, from the occult roots of Nazism. The authors also mentioned the links between "Achtung Zelig!"… with cinematographic works such as "Hanna" by Joe Wright and "Zelig" by Woody Allen, as well as with Krzysztof Zalewski’smusical project of the same title. Moreover, the authors indicated the similarities between "Achtung Zelig!"… and "Maus" by Art Spiegelman in an attempt to evaluate the extent to which the employment and transformation of models used in the American graphic novel was successful in the case of the Polish comic book.
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Ukravši komad mesa, Gavran uzletje na visoko stablo, kako bi zaštitio ukradeno. Želeći se dokopati onoga što je Gavran zdipio, Lisica priđe pod krošnju: hvalila ga je da je lijep i pametan te da bi mogao postati kralj svih Ptica ako se pokaže da mu je i glas umilan i dostojan te visoke dužnosti. Oduševljen onim što je čuo, ushićen unaprijed onim što bi mogao postati, umislivši da je doista neodoljiv, Gavran odvratno zagrakta, meso ispade, Lisica ga pokupi i reče mu: “Da još imaš i pameti, mogao bi doista biti kralj Ptica!”
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Svaki dobar nastavni sat počinje motivacijom. Međutim, pred učiteljem je uvijek pitanje: kako za nastavne sadržaje motivirati one duhovno lijene, one nedostojne znanja i užitka koji znanje donosi onome tko ga posjeduje? Upravo zato što nisu svi učenici jednako zainteresirani niti imaju jednake (a pod time podrazumijevam visoke) sposobnosti za usvajanje znanja, učiteljski poziv zna biti mučan, usprkos ugodi koju, načelno, sa sobom nosi. Međutim, sposoban će učitelj učiniti sve da svoje učenike privuče znanju koje im je dužan, ali i voljan podijeliti. Pritom će svojom rječitošću buditi njihovu rječitost, svojom će osjećajnošću draškati njihovu osjećajnost. Davat će im onoliku slobodu kolika im je potrebna i uskraćivat će ju onda kada im nije potrebna. Od učenika će nastojati načiniti suradnike, probudit će u njima svijest da oni zajedno s njime rade na istome, veoma korisnom i ugodnom poslu stjecanja znanja i sposobnosti koje će učenicima dobro doći u životu. Upravo u mišljenju da znanja koja su stečena u školi učenicima nikada neće trebati u životu (ili da će im trebati samo njihov maleni dio), leži i razlog zašto se učenici osjećaju nemotiviranima te se opiru školskoj stezi i nametnutim programima. Ako je učitelj sposoban u učenicima probuditi uvjerenje da se ne uči samo za danas i za sada, nego i za budućnost, da se ne uče samo znanja praktične naravi, ona koja će se iskoristiti u svakodnevnome životu da bi se radilo i zarađivalo, nego i ona koja nazivamo općima i koja nas čine naobraženima te ako je voljan programe prilagoditi interesima i sklonostima učenika, taj će učitelj postići dobre rezultate, učinit će svoju poduku privlačnom i zanimljivom, a njegovi će učenici biti motivirani. No, da bi netko postao takav učitelj, on mora imati duboko znanje koje će uvijek iznova nadopunjavati s vodotoka sveznanja, on mora imati dara za poučavanje i mudrosti za uočavanje onih bitnih sitnica koje čine život. Takav će učitelj biti dobar učitelj.
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„Kada na rijeci Seni iz urne prosuše pepeo kremiranog tijela ubrzanim ritmom, kao pod dirigentskom palicom najpoznatijeg suvremenog dirigenta, odjednom se začuše glasovita zvona okolnih crkava. Šutite zvona! Niste zvona naših crkava! Kao da buntovnički reagiraše čestice njegovoga kremiranog tijela, sada pretvorenog u prah i pepeo, kada ih, nemilosrdno i zauvijek, proguta i poždera nečista voda mutne rijeke…!“
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Ušao sam u auto, i razmišljao gdje otići. Malo sam se vozikao gradom i gledao gdje bih mogao, onda sam ugledao crkvu. Mjesto gdje nikad nisam zalazio sad mi se učinilo privlačnim i morao sam ući. Parkirao sam auto i izišao iz njega. Na ulazu u crkvu stajao je dječak. Mogao je imati tek četiri godine, bio je sav odrpan i prljav i molio je za novac. Dao sam mu novac i osjetio sam sažaljenje nad njim. To dosad nisam osjetio. U osamnaest godina života nikada nisam primjećivao ljude oko sebe. Družio sam se s bogatim tatinim sinovima i jednostavno nisam ni znao što je to siromaštvo. Kako je samo teško bilo tom dječaku? Ušao sam zatim u crkvu i sjeo u klupu pomoliti se. Odavno nisam bio na ovome mjestu i gotovo sam zaboravio kako izgleda. Nije bilo mnogo ljudi. Jedna starica bila je ispred mene i klečala je na svojim staračkim koljenima. Bilo je još nekoliko žena, a ja sam sjedio na dnu, u zadnjoj klupi i sve promatrao. Gledao sam kipove, slike na zidovima i divio se velikom stropu i kristalnim lusterima. Onda sam se malo pribrao i opet počeo moliti.
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The increasing numbers of urban poor and the unprecedented growth ofVictorian London significantly altered the ways in which social and moraldifferentiations came to be written into the structure of the city in the late nineteenthcentury. In George Gissing and Arthur Morrison’s city, this paper argues, the‘otherness’ and ‘isolation’ of the poor were explicitly identified and narratedthrough mapping poverty with a naturalistic representation of smaller spatial unitswithin the borders of impoverished districts. Considering Charles Booth’s distinctiveanalysis of London as a physical structure in Labour and Life of the People (1889-1903), this article provides a comparative approach to the representation of urbanpoverty and slums in Gissing’s The Nether World (1889) and Morrison’s A Child ofthe Jago (1896) with an emphasis on physical boundaries, spatial segregation andnaturalism. In these works, the outcast poor dwell in strongly classified spacesbecause of their difference; they are considered deviant and a threat to the structureof power in the metropolis, where an increasing consciousness of boundaries and ofspatial order exists. Gissing’s city is generally described as dull and monotonous,while Morrison’s streets are full of grotesque and lively characters corrupted bysocio-economic conditions and trapped in East London.
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Without aspiring to cover more than a fraction of the hundreds of revisitations of Austen’s Pride and Prejudice in literature, cinema and related media,this paper aims to identify significant turning points in the evolution of its intertextually prolific male character, leading up to his current status as the ultimate heart-throb of British fiction. The analysis will attempt to discuss the liberties ostensibly taken by the 1995 BBC adaptation and to assess its impact on subsequent responses, as well as to examine more recent cinematic endeavours, ranging from the heavily romanticised 2007 biopic Becoming Jane to the 2008 time-travel fantasy Lost in Austen. As far as prose rewritings are concerned, while not entirely disregarding attempts made to provide Darcy with an even more sonorous voice or the novel itself with a sequel, the paper will pay more attention to his contemporary avatars as they emerge from texts such as the first two instalments of Helen Fielding’s Bridget Jones series and the associated films, as well as to instances of genre-shifting and to the profusion of Darcy references to be found at the level of the wide range of Austen related merchandise and online philosophy available today,with a view to pointing out perhaps insufficiently clear links between apparently unrelated texts or products, as well as establishing how much of 19th-century Darcyhas been lost in adaptation and whether the continuing fascination with Austen’s most eligible male protagonist is indicative of his timeless appeal or commanded by a constantly updated and upgraded construct that bears little similarity to the original.
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According to Western thought, truth and reality are generally seen as being diametrically opposed to fiction. This paper advances the idea that Rushdie’s Midnight Children and Chandra’s Red Earth and Pouring Rain reconfigure the widely-held, Western view on the nature of reality and truth. It is shown that they do so through the lens of a South-Eastern myth-ritual shrine which largely relies on fiction and departs from our familiar truth(s). Most importantly, still, it becomes apparent that their truth-values represent not lesser versions of the Western counterpart, but legitimate archetypal ones; although superficially unfamiliar, they are consistent with the mental forms acknowledged in the West. To this end, three salient dimensions of the novels are examined – performance, fabulation, and memory. The first criterion encompasses the vast and intricate artistic outlets of the Indian people, which expand and infuse every field of their existence, lending mundane experiences the magnitude and theatricality of staged performances. Then, through the lens of fabulation, drawing on Bergson’s and Durand’s theories, these literary works are shown to actually gain profundity and truthfulness from their cultivation of fiction and alternative facts. Finally, memory represents both the fuel and the mechanism of the Indian story-telling tradition. Although often dismissed as unreliable, it is not so with Rushdie and Chandra; there is “memory’s truth…its own special kind” (Rushdie 211).
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Based on the aesthetic and iconic relationship between literature and painting, the portrait may represent one of the core elements that are able to connect these two arts. In visual arts, it is already known that the portrait assumes the functions of the mask, revealing or hiding the true features of a real person and,at the same time, reflecting the author’s perspective. In these terms, regarding the portrait means regarding it as a view or as a consequence of a relation between a viewing subject and a viewed object. In literature, a narrative portrait is based on the positions and perspectives of the narrator, the characters and, sometimes, of other entities that belong to the fictional world. Far from being static, the narrative portrait is a result of all the points of view that focalizes upon it. The study intends to analyze the interchangeable relationship between the narrative and the visual portrait whose function may go from hiding the true narrative self of the model, as in Oscar Wilde’s The Picture of Dorian Gray, to replacing it, as in Edgar Allen Poe’s The Oval Portrait.
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Rachel Seiffert’s novel Afterwards (2007) explores the ethically challenging and often neglected fact of perpetrator trauma resulting from sustained structural violence. This controversial subject is conveyed through the stories of Joseph and David, two British ex-servicemen belonging to different generations, who attempt to overcome their war traumas years after their respective involvement in The Troubles in Northern Ireland (from the late 1960s to the Good Friday Agreement of 1998), and the Mau Mau Uprising (running from 1952 to 1960), that ended with Kenya’s independence. The novel fittingly organises the narrative around moments of acting-out, when the protagonists feel equally disconnected from self and world, yet deal with their traumatised condition in strikingly different ways. The paper proposes an analysis of Afterwards from the perspective of Trauma and Memory Studies, with a view to exploring how the “palimpsestuous” (Dillon 4) structure of the novel, along with the repetitive use of imagery evoking holes and emptiness (Bloom 210), allow Seiffert to “perform” (Ganteau and Onega 10) the workings of the disturbed psyches of Joseph and David, so that it builds the unrepresentability of trauma into the textual fabric of the novel.
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I argue that the emerging genre of autofiction provides a number of useful techniques and methods by which postcolonial writers engage with the politics of memory in their depiction of a number of largely forgotten brutalities committed by the European imperial powers during the colonial era. More specifically, two of the elements of autofictional practice that have been of particular interest to postcolonial writers are its capacity to mediate between individual and collective forms of memory on the one hand; while also radically destabilizing notions of absolute truth and authenticity on the other. Drawing on research into the relationship between writing and forms of public commemoration, the article analyses Fred D’Aguiar’s portrayal of the killing of African slaves thrown overboard the slave ship Zong in 1781 in Feeding the Ghosts (1997); Kamila Shamsie’s depiction of the massacre of demonstrators protesting against colonial rule in India in Peshawar in 1930 in A God in Every Stone (2014); and Jackie Kay’s homage to the sinking of the SS Mendi, a ship carrying southern African non-combatant personnel to assist in the British effort in World War One in “Lament for the Mendi Men” (2011). It will suggest that even though these texts are not strictly works of autofiction, the techniques afforded by that genre are useful to those writers seeking to draw attention towards a number of neglected historical events. Colonial massacres, enslavement of people and naval disasters during the imperial period have received far less historical or cultural memorialization than other more widely recognized historical events such as VE Day or the Somme. By establishing these events as being culturally and morally important to remember, the article will argue, autofiction provides a number of tools for engaging with the politics of public memory and commemorative events in the present.
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Cum spuneam luna trecută, în ultimul număr al Literatorului din seria atribuită generic anului 1882, un număr dublu, numerotat 11-12, Macedonski se dovedește neobișnuit de reținut cu propriile creații: nu publică decît un poem și un text în proză. O ipoteză ar fi aceea că poetul trecea printr-un moment de criză artistică, care i- a diminuat prezența – anterior copleșitoare – în paginile propriei publicații.
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Review of: Adrien Candiard, Cât a mai rămas din noapte? Mic tratat despre speranță pentru uzul contemporanilor, ediția a II-a, revizuită, trad. Dorel Bucur, Editura Spandugino, București, 2023 Harold O. J. Brown, Imaginea lui Isus Cristos în oglinda ereziilor și în cea a ortodoxiei creștine, pref. George H. Williams, trad. Dan Siserman, Editura Humanitas, București, 2023,
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Short fictional text by Robert ȘERBAN and a cultural essay by Radu Pavel GHEO.
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Small literary text by Robert ȘERBAN and cultural essay by Radu Pavel GHEO.
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