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Neil Jordan's movie .The End of the Affair. starts with writing; the writing of a diary. Maurice Bendrix, writer, is typing: „This is a diary of hate. or perhaps, I wouldn't be writing this if I had known whom I hated. Was it Henry? Was it his wife Sara? Or was it some other who was yet to be revealed to me?“
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"The trace I leave to me means at once my death, to come or already come, and the hope that it will survive me. It is not an ambition of immortality; it is fundamental. I leave here a bit of paper, I leave, I die; it is impossible to exit this structure; it is the unchanging form of my life. Every time I let something go, I live my death in writing. An extreme process; we exert ourselves without knowing whom exactly the thing we leave behind is confi ded to. Who is going to inherit, and how? It is a question that one can pose oneself today more than ever." Jacques Derrida, The Last Interview
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The paper presents assertive queer-feminist strategies in simultaneous interpretation and argues that these are not only feasible but compliant with basic tenets of Structuralism. In particular, I will use three aspects from Mikhail Bakhtin’s work: firstly, organic versus intentional language change (hybridity), secondly, the concept of the act as an answerable, participatory action (“postupok”), and thirdly, the idea of a distant addressee with presumed absolute and responsive understanding (the loophole reader). These concepts will be read against work in translation studies on decision processes (Jiri Levy, Justa Holz-Mänttäri, Cecilia Wadensjö). The paper suggests that while translators’ decisions are influenced by norms, habitus and other factors, they are autonomous at the moment of action. The call for empowerment becomes a call for responsible agency.
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The Czech structuralist tradition is vital to several fields of study: linguistics, literary studies, stylistics, pragmatics, semiotics, and translation studies. While in linguistics its legacy is widely acknowledged, other fields do not readily recognise it and some authors refer to it in confusing or even erroneous ways. The aims of the present study are thus twofold: – to introduce the Czech structuralist tradition as a functionalist tradition and as a formative source of the Czech and Slovak translation traditions in order to argue that it is a relevant current approach to translation, – to create a model of semiotic analysis as a tool for the analysis of (literary) source texts. Against the more general background of the academic discussions of functionalism and “pragmatics as a general functional perspective on (any aspect of) language, i.e. as an approach to language which takes into account the full complexity of its cognitive, social, and cultural (i.e. ‘meaningful’) functioning in the lives of human beings” (Verschueren 2009: 19), the study draws on the semiotic account of language as elaborated by the members of the Prague Linguistic Circle. More specifically, it focuses on the semiotics of literary texts as related to the dynamic notion of function and meaning as a unity that integrates form and content and includes the human factor of meaning-making. The paper seeks to develop the model presented in the monograph Významová výstavba literárního díla (Meaning Structure of Literary Works) by Miroslav Červenka (1992) into a tool for the analysis of (literary) source texts as a part of the cognitive process of translation and possibly the evaluation of the quality of translation, pilot testing it on examples, and briefly touching upon the notions of functional equivalence and translatability.
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This paper suggests a new approach to literary genres and modes via the addressivity of texts and performances, which takes it starting point from Bakhtin’s concept of speech genres. First it deals with Bakhtin’s publi¬cations on literary genres, which are interpreted differently by literary theoreticians and critics, and the problematic status of his texts on speech genres, which were not prepared for publication by the author. It then takes Jan-Luc Nancy’s concept of addressing – with its components of “speed”, “accuracy”, “touch” and “retreat” – into account, and applies them to the modelling of literary genres and modes. The final part of the paper shows how the addressivity of genres and modes relates to the selected hybrid texts from Russian and Croatian literature, i.e. to Daniil Kharms’ “Failed Performance”, Dmitrii Prigov’s Stichograms, Gennadii Aigi’s “Without Title” and Ranko Marinković’s “Hands”.
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George Bowering’s novel Caprice (1987) generally conforms to the literary code of the western genre, although both its form and content surpass those of a typical western. This article will focus on the novel’s departures from the western, particularly its deconstruction of the grand narratives of history and the related myth of the Wild West. It will do this through the introduction of multiple alternative histories and perspectives, in the form of fragmented narratives and diverse conceptions of time and place, addressing: the differentiation between American and Canadian myths of the Wild and Mild West respectively, which reflect the distinct ideologies and histories of inception of these bordering countries; the deconstruction of the western genre through postmodern play with western tropes, such as the concepts of cowboy, Indian, the West, guns, and violence; and its engagement in the metatextual play with history and narrative. The aim is to show that Bowering’s Caprice—a parody of the western genre written on the cusp of Canadian postmodernism—functions as palimpsest of the new (Canadian) western.
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This paper aims to present historical, aesthetical, conceptualand ideological similarities between the Haussmannian reconstructionof Paris that took place between 1852 and 1870 and the neoclassical reconstructionof Skopje named “the Skopje 2014 project”. The similaritiesbetween these two reconstructive projects will be inspected, as wellas (some important) differences. The main line of comparison is thenotion of the nation that is being constructed; alongside it, the notion ofidentity, invention and (re)construction of the past (an important aspectof the creation of the collective vision, necessary in most, if not all nationalisticprojects). This notion is rooted in the past (always gloriousand idealistic), and it is aesthetically anachronistic and ideologicallywell contextualized. The creation of these urban plans will thereforeserve as a corpus for an analysis of the creation of the national mythand the creation of the nationalistic narrative through architecture andurban planning.
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If the Auschwitz, according to Lyotard, can be understood as a paradigmatic term for tragic incompleteness of the modern, then the Jungle can be understood as a farcical incompleteness of the postmodern. When the principle trauma of the Other became the concrete challenge of otherness the concept of the end of history as an idyllic aspect of systematic efficiency was radically challenged. Postmodern notion of historical completeness without content and without breach suddenly loses its credentials – on the surface uncontrollably breaks out either the asynchronous (Bloch) or the suppressed (Benjamin, Freud), but in every case something that was already present. What becomes problematic is the relation between the fabricated reality (what should happen) and the fabricating reality (what is actually happening). This paper is dedicated to the analysis of this issue – considering that it cannot be resolved by antagonisms or by relocation of the reality production, but only by approaching and understanding it – the relation of the problematic instances of the real will be analysed as a relation of the suppressed radical tendencies of the modern epoch and the permissive tendencies of the postmodern epoch. That way the actuality can be understood as a conflict between the subject and the infrastructure: on the one part there's the modern subject (immigrant, terrorist) who actualizes himself by nullifying himself, and on the other the postmodern infrastructure (airports, concert halls, bureaucratic corridors) which nullifies itself by actualizing itself.
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Tú situáciu poznáme z televízie, rozhlasu a dennej tlače; redaktor sa nejakého politika opýta napríklad toto: „Je pravda, že vaša strana pripravuje xl" (na mieste x môže stáť napríklad „návrh zákona o ochrane republiky", „parlamentný puč", „návštevu Žirinovského", „štrajk učiteľov" a pod.)
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Novica Milić, “Rizom-Delez”, Zenske studije, No. 4, 1996.
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This article examines the use of the term parrhesia through three examples present in the work of Diodorus, Historical Library. Through the examples in this article, some historical, philological and philosophical aspects of the term itself and the context of its use will be followed. The term has risen to the level of a philosophical concept or discourse that Michel Foucault deals with, and we use his theoretical framework to analyze our examples. The aim is to see through the examples the consequences of the use of parrhesia in a given situation. In a particular discourse the context determines the depth influence, value and meaning of the truth-telling.
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The article focuses on the phantasmatic constitution of the self in Derrida’s deconstructive work of mourning. In contrast to Freud, Derrida does not merely analyse inner-psychic mourning processes that only occur after a concrete experience of loss which can be successfully processed. Rather, he explores the possibilities of an ‘impossible mourning’ that always-already begins before the actual loss of a desired object and never comes to a closure. Because the phantasmatic incorporation of the transcendent other both opens up and undermines the subject’s self-relation in the work of mourning, it is assigned a quasi-transcendental status: quasi-transcendental insofar as the conditions of the possibility of being oneself simultaneously mark the conditions of the impossibility of having recourse to a self-present and self-identical subject. The aim is to work out the key role of Derrida’s modification of transcendental imagination, whose syntheses are at work in the spectral images of the other that haunt us in a ghostly way. As an image of the other within me that gazes at or affects me in the imagination and thereby conditions my phantasmatic constitution as a split self, its internalised trace forms the inaccessible place of self-formation in the work of mourning.
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This study attempts to investigate the problem of responsibility as stated by the French philosopher Jacques Derrida in his essay ‘Passions: “An Oblique Offering.”’ Having rejected the previously postulated notions of responsibility, Derrida ventures into positing his own peculiar framing of the concept of responsibility by offering the concept of the secret, which makes it resolve the binary opposition of obligation and free will in responding to, say, an invitation. However, the article argues that to resolve the problem of responsibility, Derrida has recourse to Platonic Forms through the concept of the secret. To work through the secret, a ritualistic ceremony is needed to unfold the relationship between the subject and the other and to be held responsible in this way demands approaching the secret of the other indirectly or offering oneself obliquely. It is in this way that the secret unfolds its conception of responding and responsibility.
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Nedavno objavljena kolumna u Wall Street Journalu ukazala je na izvor moralnog prokazivanja koji sada dominira u novinarstvu, a to su »dogme osmišljene na fakultetima«. Ove dogme imaju različite nazive (kao što su »postmodernizam«, »multikulturalizam«, itd.), međutim sabrala bi ih u koncepciji »dekonstrukcija« , zbog toga što najbolje sažima ono što je za njih bitno.
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