POEZIJA ‒ LOUISE GLÜCK
Poetry written by Louise Glück (Prilazak horizontu; Melanholični asistent; Mač u kamenu; Kornvol; Oštro izgovorena šutnja; Vjerna i časna noć; Suton u septembru)
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Poetry written by Louise Glück (Prilazak horizontu; Melanholični asistent; Mač u kamenu; Kornvol; Oštro izgovorena šutnja; Vjerna i časna noć; Suton u septembru)
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This paper offers an analysis of the liminality of the ‘Self’ and its subsequent projection onto the material world in Anne Rice’s early novels, Interview with The Vampire and The Vampire Lestat. The study is focused on two characters of the said works – Lestat de Lioncourtand his long-time companion Claudia – and aims at examining their respective‘Selves’ as preternatural beings as well as unique individuals. The research draws on Judith Butler’s and Rosi Braidotti’s theories in order to examine the physical, emotional, and mental changes the characters under go. It subsequently shows that the preternatural ‘Self’exists in a constant state of non-telic transformation, as well as that the perennial metamorphosisis continuously reflected in the characters’ material homes.
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The article aims to present a new proposal for the periodization of the history of American comic books. The introduction deals with the problems of other propositions: the academic one created by Arthur Asa Berger and the so-called Olympic / Mainstream that is mainly used by industry artists and readers. The most critical short comings of these periodization are also listed, including them being outdated. The new proposal complements the deficiencies of the previous two: in its actuality, it focuses on the transformations of the comics genre caused by the socio-political implications of the events of September 11, 2001. Each epoch was given specific time frames, cut-off dates, events, and characteristics.
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The formation and the establishment of the United States firmly adheres to two beliefs of the American dream and the American west. Though the American dream was part of American culture from its beginning, the other one became the driving force of American culture in the second part of the twentieth century when Sam Shepard began his career as a playwright. During this time, American theater emerged into a main arena for the presentation of the American west. Nevertheless, Shepard attempted to avoid playing with the duality of reality and illusion in his presentation of the American west when he put forward his characters to face and experience the world to then discover their selves. At the pinnacle of his success, he wrote A Lie of the Mind, a play that is filled with heroines who would leave the violent world of men to change their destinies. As such, Shepard endeavored to free their selves and flow them to experience a new world. Likewise, Shepard’s contemporary American philosopher, Richard Rorty, believed in the importance of self and the necessity of its re-description to create his ideal society. However, hopeless to find a philosophy model, he lends to literature to find his liberal ironist. On this account, the following study is not only to provide Sam Shepard as a liberal ironist in Rorty’s term but also to reveal certain puzzling features in Shepard’s A Lie of Mind, not least of which is the reason why his female characters blow the world of the American west to search for a new world.
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Целта на ова промислување е да се отвори дијалог меѓу два века на американското национално себе-презентирање, односно себство. Во една родово-расна јукстапозиција, овој текст ги посочува неочекуваните места на меморија на бел хукс, современа американска теоретичарка, и Волт Витман, бардот на американскиот 19-ти век. Притоа, се поставува прашањето – дали овие мемориски места (теоретско-поетски) се вистински претставници на американското граѓанство и неговите структурно-социолошки мени во последните двесте години? Дали станува збор за места на колективната меморија, едновремено партикуларизирани и aмблематски? Кој е нивниот опсег? Кој е нивниот глас?
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In A Theory of Adaptation, Linda Hutcheon posits that adaptations give audiences the best of both worlds: something familiar and recognizable while also presenting something new and unexpected. Media makers can play on audiences’ expectations, creating a “palimpsestuous” relationship between the original and adaptive texts. Director Logan Thomas depends on his audience’s prior engagement with Charlotte Perkins Gilman’s short story “The Yellow Wallpaper” in his 2012 film of the same name. While the film is a clear departure from Gilman’s text, acting as the origin story of the author’s experience in writing the story, Thomas’ reliance on the viewers’ familiarity with Gilman is necessary to his larger trans-genre project. Thomas expects that his viewers will expect Gilman’s gothic setting, tone, and language and delivers those expectations for much of the film. This palimpsest of genre expectation however becomes a perfect way for him to enhance audience fear when the film turns out to be a horror. Thomas’ technique of using the palimpsest against the audience changes his adaptation of a text from one genre to another, revealing the shock that can be garnered from working with popular canonical texts.
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Toni Morrison’s superior literary oeuvre reconsiders the American past by introducing memories of subjects who have been ignored or misrepresented in official history, with particular attention to their identity construction. This paper aims to examine how the neglected history of African Americans is reconstructed in Morrison’s novel Home (2012) through remembrances of the protagonist, a Korean War veteran. His attempts to recall his personal and his family’s past shape the quest for identity. Concurrently, the narrative about the characters’ fates prompts a deeper retrospective of American race relations and debunks the myth of “the Fantastic Fifties” in the United States. Using scholarship on this topic and critical viewpoints of authors such as bell hooks about home in African Americans’ lives, this analysis seeks to explore Morrison’s novel Home, concentrating on how identity is constructed in the process of the main character’s remembrances of the past and growth toward self-respect.
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In the paper we investigate, on the one hand, the cultural continuity of Latin America from the point of view of the Mexican writer Carlos Fuentes and, on the other, the interweaving and fusion of pre-Hispanic and modern culture on the continent(s). We do this from the perspective of the writers and thinkers who have recognized transculturation as one of the key processes of the territory where different races live, gathered under the term mestizaje, and share a common language, Spanish.Encompassing the attitudes of the founders, defenders and interpreters of the emblematic Spanish-American syncretism (the Argentine theorist Walter Mignolo, Uruguayan literary critic Ángel Rama and essayist Enrique Rodó, excellent representatives of Mexican culture and literature José Vasconcelos, Alfonso Reyes and Octavio Paz, the Cuban writer and musicologist Alejo Carpentier, Portuguese scientist Boaventura de Sousa Santos, Russian philosopher and literary critic Mikhail Bakhtin, and others), we point to mutual cultural assimilations of the Spanish-speaking territories of South America, Mesoamerica and North America. The central part of the article is dedicated to Carlos Fuentes’s thinking on cultural identity, the paradigm of racial mixing, and the heritage of various origins as a gift of the Indo-Afro-Ibero-American individual and society. Finally, through this research we show that, according to Carlos Fuentes, the source of Mexican transculturality is related to the Baroque and its Atlantic exchange, which overcame the temporal and spatial abyss, under whose arch a new Spanish American cultural genealogy was created, and thanks to which the Latin American novel emerged as a genre of genres, liberated from colonial prohibition after three centuries, and was afterwards compelled to compensate for it.
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The 1960’s was the decade in which Tennessee Williams saw his winning streak as a popular dramatist come to an end, and Arthur Miller,wearing a new philosophical look, returned to the theater. From the successful production of “The Glass Menagerie” in 1945 until well into the 1960’s, Tennessee Williams averaged rather better than a play every two years, most of which had respectable New York runs – 100 performances or more. Working for the most part in Southern settings and presenting somewhat lurid surface events, Williams told again and again the story of an outsider, one of the fugitive kind, who by virtue of his /her differentness, his artistic inclinations, his sexual proclivities, his physical defects – becomes a victim of an uncongenial society. As the number of plays grew, it became clear that, for Williams, all men are outsiders and the enemy is the character himself or time eating at him or a godless universe, from which there is no escape, and the best he can do is to take what comfort he can from the temporary palliative, sex
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Poems written by Louise Glück: *Aubade *Rođendan *Utopljena djeca *Vita nova *Ahilov trijumf *Visibabe *Kirkina snaga *Kirkino mučenje *Kirkina tuga *Lutajuća persefona (I) *Lutajuća persefona (II) *Mit o nevinosti
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Excerpt from the novel “Gangster kojeg svi tražimo/ The Gangster We Are All Looking For” written by Le Thi Diem Thuy.
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Short story “Potraga za poslom/Looking for Work” written by Gary Soto.
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The paper is concerned with Gloria Naylor’s choice to write this book in the form of a short story cycle, a fictional mode which implies a set of narrative and structural principles meant to provide unity and coherence quite distinct from those specific to other fictional modes.
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This paper considers The Masque of the Red Death, a short story by E.A. Poe. Understanding the carnival as mundus inversus (temporary inversion of order) and using the theories proposed by M. Bakhtin or V. Turner, the authors present an interpretation according to which Poe’s ball is indeed an inversion of a ball – an anti-carnival. Furthermore, they do not agree with the allegorical understanding of Poe’s works. Indicating a suggestion made by Poe himself, they choose an interpretation related to Eliade’s concept of symbolism. They also disagree with the theory in which The Masque of the Red Death is the story about the non-existence of God. Referring to other religious interpretations and the problems of time, they present their own biblical conclusion.
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Ernest Hemingway remained faithful to a wide range of traditional masculine values in his life and his fiction. He was a propagator of the normative roles assigned by the patriarchal system on men and women and accordingly distinguished between male and female social and artistic functions; however, the tension in his behavioral patterns is expressed through his subversion of those ascriptions on the sexual level. The themes of homoerotic wishes, suppressed femininity and transvestic impulses have well been established in Hemingway‘s fiction through years of literary criticism; however, the masochistic undertones of his writings have not received an equal attention so far. The purpose of this paper is to underline the masochistic properties of Hemingway‘s psychosexuality.
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