Anto Stanić, Bili su k’o braća, Fojnica – Kreševo 2015.
Review of: Anto Stanić "They Were Like Brothers", Štamparija Fojnica,Fojnica – Kreševo, 2015. by: Mato Nedić
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Review of: Anto Stanić "They Were Like Brothers", Štamparija Fojnica,Fojnica – Kreševo, 2015. by: Mato Nedić
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The newly established NBU Readers Club gathers for the first time to discuss The Remains of the Day, the famous novel by the Nobel Prize winning author Kazuo Ishiguro. How do we empathize with a character whose experience is so remote, encapsulated and different from our own; is this a novel about britishness and how it should be read in the current Brexit times; to what extent this is a historical novel; what circumstances defined the ending of the book… These are only part of the questions that were passionately posed and debated by the three hosts from the Department of New Bulgarian Studies and the audience.
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Između prozorskih stjenki na kuhinjskom oknu nalaze se dvije mrlje, dvije kapljice uljane boje kojom je okvir ofarban. Jedva primjetno, te dvije skoro nevidljive točke, zaštićene s unutarnje strane prozora duplim staklom, stvrdnute i suhe, danomice se sastaju u njegovom imaginarnom oku, i kada ih Nabukodonosorovo dovitljivo oko preklopi u zajedničku točku, kao što se preklapa oroz s mušicom puške, nišaneći kroz prozor, rasijani mu pogled odleti daleko do rubova horizonta ka dva usamljena bora, povijenih krošnji, grbavih i oštrih kao u dva čupava ježa. […]
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Prošlo je već mnogo godina otkako mi je jedne ljetne večeri Carlos Reyles, sin romanopisca, ispričao ovu priču u Adrogueu. U mojem se sjećanju duga kronika jedne mržnje i njezin tragični svršetak sada miješaju s ljekovitim mirisom eukaliptusa i pjevom ptica. […]
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Bojim se daje meni najvažnije to što uopće nemam viziju budućnosti. Ne samo da ne znam što želim pisati, ni kamo želim stići, već nemam ni pripovjedačkog plana kojim bih, prije ili kasnije, mogao obznaniti postojanje mojih romana; kad neki roman započnem ne znam čak o čemu će se u njemu raditi, što će se u njemu događati, ne znam koliko niti kakvi će biti njegovi likovi, a kamoli kako će završiti. […]
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This article foregrounds representations of ageing and memory within Kazuo Ishiguro’s novels, particularly Never Let Me Go (2005) and, the less critically considered, The Buried Giant (2015). While criticism and reviews touch upon themes of ageing, loneliness, and loss of bodily function, scholars are yet to reveal either the centrality of this to Ishiguro’s work or how this might speak to real-life questions surrounding ageing. Few readers of Never Let Me Go realise that in writing it Ishiguro’s guiding question was ‘how can I get young people to go through the experience of old people’? The arguments here seek to restore such authorly intentions to prominence. Ishiguro is more interested in socio-cultural meanings of ageing than biologically impoverished memories: this article examines the shifting relationships Ishiguro presents between memory and age as regards what happens to the ways in which memories are valued, and how people might be valuable (or not) for their memories. Interdisciplinary with age studies and social gerontology, this article demonstrates how Ishiguro both contributes to, and contends with, socially constructed concepts of ageing. In refocusing Ishiguro criticism onto reminiscence rather than nostalgia, this article aims to put ageing firmly on the agenda of future research.
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Miris starog ormara tjerao me je da opsesivno zatvaram vrata i preturam po ladicama u potrazi za starim slikama koje sam jednom brižljivo složila: slikom moje majke kako u dvorištu trese usamljeno drvo limuna dok ja sjajnih očiju stojim kraj nje; slikom oca u vojnoj uniformi, svježe obrijanog, strogog pogleda; slikom moga brata Hisama u školskoj odjeći, nasmijanog, kako nosi mog mlađeg brata Hammama povijenog u plave pelene; slikom na kojoj sam ja, okruglog lica, u crnoj dugoj odjeći, tijela potpuno stopljenog sa zatamnjenom pozadinom...
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Novel written by Anton Pavlovič Čehov: Zadaća za ljetni raspust učenice Nadenke N.
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This article places Royall Tyler’s novel, The Algerine Captive, within the socio-political context of the early American Republic which was acutely concerned with the problem of defining its national identity. As a multigenre text juxtaposing the picaresque format patterned after Henry Fielding’ Joseph Andrews and Tom Jones with the travelogue and the Barbary captivity narrative, The Algerine Captive is a novel which mirrors the incoherent and disjointed character of America in the last two decades of the eighteenth century, in formal as well as generic terms. By the same token, the variegated adventures of the protagonist/ narrator Updike Underhill both at home and abroad reveal social, political, legal, religious and racial differences meant to challenge the Federal meaning of nation as an isolated and self-reliant land under the John Adams government. I examine the link between Tyler’s critique of Federalism taken as national insularity and the status of Updike Underhill as a quixotic character. His return to America as a patriotic citizen after escaping from slavery in Algiers is not a traditional quixotic “cure,” i.e. a return to the Federalist status quo. Underhill’s return to his native country enables him to make American society better, not by simply parroting federalist principles, but by upholding and testing cross-cultural differences and global experiences on native soil as a cosmopolitan citizen.
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In the intellectual climate of our time, “terrorism” represents one of the most frequently used and, probably, one of the most contested keywords at the same time. Beyond the immediate and purely physical effects of terrorist violence, what matters in the European cultural paradigm is the effect that terrorism produces on imagination. In this context, the present paper sets out to depart from the ‘conventional’ instruments of deciphering terrorist violence (for example, political and mediatic discourses) and to resort to literature as a meaningful way of representing and understanding the mechanisms of this complex phenomenon. Our endeavour will focus mainly on a new hypostasis of terrorist violence, i.e. global terrorism, and on its representation in the British literature produced at the beginning of the third millennium – in 2005, the British novelist Ian McEwan published “Saturday”, a novel which analyses global terrorism from the viewpoint of its potentiality.
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The paper aims at discussing the treatment of fictional characters through the theoretical apparatus of possible world semantics with clear and practical applications within postmodern fiction, more precisely in Ian McEwan’s novel On Chesil Beach. First it explains the manner in which the theoretical apparatus applies to fictionality in general, to postmodern fiction and to the selected novel going through the essential theories in the field, the Kripkean perspective, David Lewis’ Counterfactuals, Marie-Laure Ryan’s system for understanding fiction through the possible worlds framework. Then it showcases how the identity of fictional characters appears in the fictional piece under discussion, and the manner in which it unfolds within the mindset of the possible world semantics. Finally, by blending in these perspectives within the narrative universe and observing how they render a structural matrix of fiction upon which worlds of possibility can be modally distinguished, the paper will prove that the analysis of character identity and character worlds in fiction completes the entire picture of a syntax of the narrative within the possible world determinism.
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Review of: Ann Radcliffe, "Talijan ili ispovjedaonica crnih pokajnika,", "The Italian, or the Confessional of the Black Penitents. A Romance.", translation by: Marina Alija Jurišić; Review by: Mate Grbavac
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Klupko događaja počelo se odmotavati 2006. godine. Tada sam objavio roman koji će me dovesti u tu situaciju. Iako bi se moglo unedogled nabrajati šta je šta uzrokovalo, posredna prethistorija ipak počinje 1945. Sredinom maja te godine. Tada se Hašim Tavras spasio time što se nije osvrnuo dok je bježao s velikog polja Bleiburg u Austriji. Bilo je stani-pa’ni: samo za toliko koliko da se okrenuo i pogledao iza sebe, ne bi mu bilo druge – dopao bi u ruke Englezima. Bio bi ubrojan u one koju su se njima predali. Ili bi ga odmah isporučili jugoslavenskim partizanima ili bi u logor u Italiju, pa odatle opet u Jugoslaviju, s marširanjima u višestrukim kolonama, javna suđenja, strijeljanje ili robijanje, a ako preživi – pod nadzorom je dok je živ.
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The purpose of this essay is to capture and convey, through the use of different works of philosophy that encapsulate thoughts on the same idea, the motif of the absurdity of life in Ernest Hemingway’s first novel The Sun Also Rises. The concept of the absurd will be, first and foremost, examined through absurdist criticism of the novel, using the philosophical thought of Albert Camus, Soren Kierkegaard, Friedrich Nietzsche and other philosophers who captured the essence of the absurd in their philosophy, all in order to represent this concept in Hemingway’s novel and to show how it truly manifests itself upon some of the most important characters’ psychology and their actions, portrayed throughout the three parts of the book. Mention will be made of the concept of “Lost generation” as it is the cornerstone to understanding, firstly, the characters’ background and current psychological status and the effects that the war had on an entire generation, leading them to an unwilling search for meaning in what this essay strives to present as a meaningless life.
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