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Iščitavanje prve tri knjige pjesničkoga opusa suvremene britanske performans pjesnikinje afričkoga porijekla, Patience Agbabi, predstavlja svojevrsni izazov u eri umnožavanja pojmova s prefiksom post-kao odlike novih ideoloških trendova koji se nerijetko prestaju baviti još nerazriješenim sukobima.
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Vjerojatno niste čuli za moi ré-efekt, no to vam neće pomoći da umaknete njegovoj »vradžbini«. Tehnički gledano, riječ je onovom vizualnom uzorku koji se pojavi kada se dva jednaka točkasta ili iscrtka na, obično prozirna, polja poslože jedan preko drugog, ali tako da se jedan malo zarotira spram drugog.
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This paper aims to examine R. F. Langley’s poetry as an example of radical landscape poetry, which is characterized by the interplay between landscape and language in an open field of con/textual relationships, with special focus on his poem “To a Nightingale”. Langley’s poetry can be regarded as a Modernist compound of tradition and innovation, affirmation and negation, certainty and doubt, and the human and the non-human. Langley’s poetic landscape(s) or his artistic canvas is associated with the late-modernist writing of his time. In Langley’s poetry, the relationships between landscape/environment and humanity, the human and the non-human are depicted as mutually constructive. Situated between the romantic and the existentialist discourses, Langley’s poetry possesses a modernist, depersonalized, scientific, innovative, experimental and speculative approach to reality and language. “To a Nightingale” epitomizes the modernist indeterminacy of reality and language through the vertiginous vacillation of the speaker between alternatives of truth and expression in the checkerboard of existence, as well as through the disordered structure and shape of the poem, alternating between opposite poles, through the use of stylistic devices such as parataxis, juxtaposition, enjambment, parallelism, deviation, foregrounding and discoursal relations.
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Beckett’s epistemological pursuit of brevity can be found even in the titles or subtitles of writingslike From an Abandoned Work, Rough for Theatre I and Rough for Theatre II, Come and Go. A Dramaticule, Intermedium or Ohio Impromptu. Para- and/or architextual wordings like ‘intermedium’, ‘rough’,‘a dramaticule’, ‘impromptu’ or ‘from an abandoned work’ provide further examples of this tendency. The main goal of this article is to present Beckett’s specificity against the background of thetradition of genres and the poetics of the romantic fragment. The author also analyzes the connection between the structure and style of Beckett’s works and their epistemological and aesthetic functions. She presents how, by engaging with Romanticism, Beckett reveals the illusion of the infinite,representing it as a derivative of the human mind rather than an objective quality. Despite this basicdifference, the poetics of fragment in the works of this Irish writer becomes a mode of manifestinguncertainty and sometimes even of cognitive incapacity.
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Edward St Aubyn’s quintet of novels is very often interpreted in terms of trauma. Such an interpretation, based on the author’s confession that the novels are strongly autobiographical and that hewas sexually abused as a child by his own father, is no doubt justified. However, besides that, theyalso belong to a certain tradition: with Proust and Powell St Aubyn shares the setting of the novel,aristocracy and high society; same as them he unveils snobbery as an integral part of this society andhe shows in detail various mechanisms and forces that are active in this society. His novels, however,are remarkable in drawing a link between cruelty/abuse/sadism and snobbish detachment, whichhe sees as ultimately dehumanizing.
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IN HIS NOVEL ENTITLED THE COLLECTOR, JOHN FOWLES TELLS THE STORY OF FREDERICK CLEGG, AN ENTOMOLOGIST WITH SOCIAL AND PSYCHOLOGICAL INADEQUACIES, AND MIRANDA GREY WHOM HE FALLS IN LOVE WITH AND SOON KIDNAPS.FREDERICK CLEGG’S MONOLOGUE AND MIRANDA GREY’S DIARY RECONSTRUCT THE EVENTS OF THE HERO’S IMPRISONMENT OF MIRANDA GIVING TWO PERSPECTIVES ON THE SAME STORY AND ENHANCING THE SENSE OF AUTHENTICITY AND VERISIMILITUDE OF THE NOVEL.MIRANDA’S DIARY NOT ONLY GIVES THE VICTIM’S PERSPECTIVE ON THE SAME EVENTS PREVIOUSLY NARRATED BY CLEGG BUT ALSO PROVIDES GLIMPSES INTO HER PAST LIFE, THE LAST PART OF HER DIARY RECORDING HER AGONY WHICH IS REFLECTED IN THE DELIRIOUS AND DISJOINTED SENTENCES FROM THE END.FINALLY, CLEGG TAKES OVER NARRATION ONCE AGAIN AND DESCRIBES THE MOMENTS BEFORE MIRANDA’S DEATH(DUE TO PNEUMONIA) AND THE NOVEL ENDS WITH CLEGG’S PREPARATIONS TO CAPTURE HIS NEXT RARITY, A GIRL WHO WORKS AT WOOLWORTH’S.
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Recent narrative studies of complexity theory have shown that so-called ‘emergent complexity’ does not accommodate to narrative form. Complexity theory is an interdisciplinary field of study that researches how large-scale phenomena emerge from simple components without the guidance of a plan or a controlling agent. Emergence happens by chance, through decentralised interactions at lower levels. Its lack of clear causal chains makes the process difficult to conceptualise in narrative so this article turns to a fictional narrative to demonstrate how complexity theory has trickled down into contemporary literature: the historical novel Pfitz (1995) by Scottish novelist and theoretical physicist Andrew Crumey. While there have been a spate of publications on complex narratives in film studies, literature studies has lagged behind. As a counter, the article revives Tom LeClair’s notion of the systems novel (1987, 1989) as one useful model for thinking about narrative complexity in prose fiction. I first turn to LeClair’s definition of the systems novel and bring it up to date with recent discussions of complexity theory, then turn to Crumey’s novel to illustrate how Pfitz imitates the logic of complex systems through its looping structure, its interconnectedness, and its thematic insistence on chance and necessity.
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The paper discusses the use of inflectional and derivational suffixes, for which purpose two chapters from two novels written in English language have been analysed. The novels include: Harry Potter and the Philosopher’s Stone, written by J. K. Rowling and Twilight, written by Stephanie Meyer. It is hypothesized that inflectional suffixes prevail in literature texts written in English language in comparison to derivational suffixes. The first part of the paper provides theoretical background of the process of affixation with a special emphasis put on suffixation, types of suffixes, distinction between inflectional and derivational suffixes, whereas the central and the most important part of the paper deals with the analysis and the results. Although only two chapters of two novels have been analysed, the sufficient number of each type of suffixes has been selected clearly showing that inflectional suffixes prevail, which proves the hypothesis. The results obtained through the analysis can be representative, even though they cannot be considered as a general rule since they may be influenced by many factors, e.g., whether the analysis has been conducted using the entire novels or even completely different corpus (newspapers, online articles, scientific papers, etc.). Nevertheless, the results can provide a good basis/source for some future similar research.
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« Arthur of Little Britain » is a medieval romance that narrates Arthur’s life, from his birth in Brittany, France, to his death, in the Realm of Soroloys. Some realistic details place the beginning of all adventures in the West. Arthur is son and heir to the Duke of Brittany. A true knight, he goes on a quest to conquer the world and follow a dream. He goes as far as the Orient, reaching Constantinople and India. The story ends in a faraway realm, a mix of reality and medieval fantasy. How do history and fantasy, dream counties and geographical discoveries come together? How does a hero of both the West and the East identify himself, in a coherent or rather contradictory way? We will try and answer these questions in the present paper.
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This paper approaches the manner in which Charlotte Brontë’s Jane Eyre, a parentless avid reader, comes into contact with parodies of the patriarchal Victorian family, where monstrous male figures exercise authority over female members of the household –the strange child, the vulnerable outcast, the lunatic. To explore the textual and social tensions the figure of the female reader as a threatening force produced in the nineteenth century, this paper focuses on a sagacious heroine civilizing a bestial hero representative of the fairy-tale genre. Though certainly ahistorical, Jane subverts the fairy-tale game of submission and dominance, inviting contemporary readers to see her as a participant in the construction of social meanings and challenge conflicting assumptions around her seemingly dark double and physical inferiority. Touching as it does on female experience within domesticity, this study submits findings consistent with the idea that the home – the locus of Victorian well-being – can easily adjoin a horrific Gothic site of incarceration and terror, populated by male tyrants and colonized monsters. For Jane Eyre and other reading heroines confined to such places as symbolic prisons or intellectual hospitals, books turn out to subsume plentiful underlying supplies of vitality.
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The current paper intends to discuss the figure of the ‘vampiric’ mother in Arthur Conan Doyle’s Sherlock Holmes story, “The Adventure of the Sussex Vampire”, in which a young woman is suspected and accused of sucking the blood of her young infant. When Holmes is sent to investigate, he discovers that the mother is innocent of the charge and was, in fact, only trying to protect her baby, but the horror and abjection of the mother figure devouring her child supersedes the horror of the vampire. The paper argues that motherhood equals, multiplies and even replaces the monstrosity of the vampire. In spite of the mother’s ultimate innocence, her status as foreigner and Other (both female and Peruvian) marks her as an indeterminate threat. In order to explain the marginality and peril of the foreign mother, the paper will also turn to postcolonial theories, relating them to theories of gender, race and motherhood.
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Unicorn Stories in Tracy Chevalier’s and Philippa Gregory’s Novels. Unicorns have been described as mythological creatures that only the chosen ones could encounter. In the novels The Lady and the Unicorn by Tracy Chevalier and The Lady of the Rivers by Philippa Gregory, one such mythical beast evinces certain features that reflect on some of the characters in the novels. The paper discusses the image and symbolism of the mythological beast and analyses the depiction of the animal in the two novels written by the respective British authors. The stories told of the unicorn in the two books are to be compared and completed by texts from various other sources, in an attempt to get a fair picture of the way in which the two novels explore the legend of the respective magical creature, and transform it into feminist narratives.
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Compassion and Acceptance of Human Animality in a Selection of Liam O’Flaherty’s Stories. Liam O’Flaherty’s numerous stories dealing with animals are generally considered his best artistic efforts. Scholars have highlighted how he humbled anthropocentric pride and even effaced the narrator and the human point of view from them. My contention, however, is that these stories can also be interpreted as O’Flaherty’s literary meditation on the absence of ‘good discontinuities’ between humans and animals, and on the importance of constructing the human/animal encounter on the acceptance of the existence of an interspecies communion. In his stories, humans do not necessarily possess something that animals lack, such as the capability of feeling compassion. Humans often fail to have compassion for other animals or human beings, for they deny that a communion obtains among all the living. These humans are capable of taking delight in another’s suffering and so disrupt both their equilibrium with potentially negative consequences and the present ‘ecological equilibrium’, which has to be restored. Hence, O’Flaherty’s short stories can be seen as earlier literary responses to contemporary works on human/animal ethics and genuine ethe of care (Derrida; Nussbaum; Wolfe), which will be discussed here together with selected empirical studies on the same subject (de Waal; Goetz, Keltner, and Simon-Thomas).
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William Golding’s 1959 Free Fall depicts the narrator/character Samuel Montjoy’s retrospective interrogation of his past in his “non-chronological” autobiography to understand his present self. His first-person narration is a journey into his memories presented according to their importance for him at different stages of his life (the narrated self) and shows the role of memory in shaping the present self (the narrating self). The narrator regulates his memories to conceive a coherent pattern in his autobiographical account which will also give meaning to his life and help construct a unified identity. However, he adopts a structure that has to rely on his remembering/forgetting, which problematizes the idea of constructing the self through unreliable memory. With this quality of the novel as an early example of the “fiction of memory,” Golding’s text is inventive and looks forward to contemporary narrative approaches to autobiographical writing. Free Fall has been widely studied as an existentialist novel due to the novelist’s questioning the concepts of freedom to choose and fall through the protagonist’s quest for self-knowledge. However, the aim of this study is to analyse Golding’s work as autobiografiction and trauma narrative where the text presents an account of the protagonist’s attempt for reconstructing the self through memories subject to his modifications and offers the therapeutic use of his self-narration.
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William Shakespeare will probably remain forever in the universal history of theater in top 10. His work is contained in dramas, comedies and tragedies that are of immeasurable value. Shakespeare discovered the key to success through the public. He was constantly attentive to the way he reacted to his ideas and constantly improved his plays. Although he remains in the collective memory as one of the greatest playwrights, he wrote over 100 poems, was an actor and theater director. The theater crew loved him because he managed to keep everyone together for better or worse. William Shakespeare is innovative in the way he writes, he is creative in the true sense of the word, he is a pioneer, he is a genius, he is a legend.
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If the ideals are not for idealists — is this the reason for the assertion that greatest truths have been written down between the lines? William Shakespeare most certainly was not the idealist we immagined him to be, and that what he has written — was not written between the lines but in verses. Shakespeare was not a lawyer, although in various ways he was connected with law. As every genuine creator, he could not avoid the state and the law' as a motive and subject of inspired narration. Here we, namely, have a good reason to remind the lawyers on valuable contribution of William Shakespeare to the ideas of state and law, since in his dramas we find eternal ideas of power, state, law, statutes and justice.
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Feminism, in all its forms, shares at least one goal, that is, the subversion of patriarchy. Men, despite their class, race, or ethnicity, occupy a place in the hierarchy of patriarchy and seem to work in solidarity to keep their dominance over women, by excluding them, for instance, from the economy and literature. The way women are defined is socially constructed. This paper tackles women’s attempts to undermine these long-rooted constructed ideologies, for example, by explaining how patriarchy works and reacting against it. In this paper, we focus on a variety of techniques employed by some women playwrights to give voice to female characters, who have been deprived of the space to speak up in Shakespeare’s Othello. A feminist reading of Ann-Marie MacDonald’s Goodnight Desdemona (Good Morning Juliet), Paula Vogel’s Desdemona: A Play About a Handkerchief, Djanet Sears’s Harlem Duet, and Toni Morrison’s Desdemona can be constructed by analysing females’ presence and males’ absence in order to unfold male-constructed ideologies that hinder women’s advancement and occupy spaces that would allow women to act freely away from males’ territory, as well as, to identify the diversity of approaches these women playwrights combine in their plays to subvert and overcome them.
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The present paper focuses on Irvine Welsh’s novel Porno (2002), the sequel to Trainspotting (1993). Most of the events of the novel take place in Edinburgh, and the changing face of Leith, a working-class neighbourhood, becomes the central axis in the story. By drawing on Edward Relph (1976) and Harold M. Proshansky et al. (2014 [1983]), this reading of Welsh’s novel attempts to show how the main characters self-consciously reflect on the neighbourhood’s changing identity, as well as the implications these changes have for their own sense of self. Multiperspectivity becomes the mode Welsh employs to project a nuanced image of Leith, as seen from the subjective perspectives of five internal narrators. What becomes of interest in the novel is not the identity of Leith per se, but the different images of Leith that emerge through the way the narrators identify with the neighbourhood. Specifically, three images of Leith are distinguished and explored in the paper.
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