Anafora

The Image of a Nation in Angie Thomas’s The Hate U Give (2017)

Ljubica Matek, Jasna POLJAK REHLICKI — Fri, 17 Feb 2023 00:00:00 +0100

The paper offers an imagological analysis of Thomas’s debut novel The Hate U Give (2017) with the aim of showing that the cultural image of the Black race is a firmly rooted construct in the United States. The analysis is based on the ideas proposed by Benedict Anderson in his Imagined Communities: Reflections on the Origin and Spread of Nationalism (2006) and suggests that despite the well-established theoretical ideas of American-ness and the greatness of the American nation, there is no single nation to speak of in the US society. Anderson suggests that the society has preconceived beliefs on members of certain (racial, ethnic) groups, which the novel clearly depicts through the novel’s protagonist, Starr Carter, who engages in code switching in order to get a better education and, thus, a chance for success outside of the black ghetto. The pre-established notions and stereotypes, often promoted via populist discourse of the dominant group, prevent unification of people into a nation and at the same time give rise to nationalism, racism, and hatred.

Michael Moore, an American Populist?

Mikkel Jensen — Fri, 17 Feb 2023 00:00:00 +0100

This article contextualizes the films of Michael Moore in the tradition of American populism. Extending in particular from historian Thomas Frank’s argument in People without Power that populism can usefully be understood as a particular American tradition of leftism, the article traces how three of Moore’s films—Roger & Me (1989), Sicko (2007), and Capitalism: A Love Story (2009)—articulate political concerns that overlap with the political beliefs of American populism. The article also explores some of the populist elements in Moore’s style and argues that there is good reason to see Michael Moore as a twenty-first-century American populist but that any attempt to do so must remain clear about the definitions of populism used to make this contextualist argument.

The Cult of Free Verse in the Novi Sad Journal Új Symposion

István Ladányi — Fri, 17 Feb 2023 00:00:00 +0100

The journal Uj Symposium was launched in Novi Sad in 1965 and after several internal or forced transformations and generational changes, it ceased to exist in 1992. In the journal’s programme of renewing Hungarian minority literature in Voj/ivodina, free verse based on the avant-garde literary tradition, along with essays and literary criticism, has gained particular importance. The paper traces the rise and literary achievements of free verse in the three decades of the journal.

Multigenerational Families and Crisis Experiences: a Comparative Analysis of the Generational Novels by Ivana Šojat and Jagoda Marinić

Marijana JELEČ, Marijana MANDIĆ, Anita Pavlović — Fri, 17 Feb 2023 00:00:00 +0100

This article is based on Škreb’s concept of literature as inseparable from the social and historical context. This anthropological basis is used for the analysis of the crisis phenomenon centred on the family system in the novels Unterstadt by Ivana Šojat and Restoran Dalmacija by Jagoda Marinić. In addition to the study of thematic, compositional, and genre features of the selected novels, the aim of the comparative analysis is to see the way in which literature contextualizes crisis in contemporary discourse. By using the theoretical determinants of previous research on crisis, family, and memory archiving, the article explores and compares the causes and indicators of family crisis, as well as reactions to it, thus contextualizing literature. This requires an analysis beyond the classical structuralist analysis and broadens the horizon of the literary work, therefore,
the article will use the postclassical or new narratology, which is, in addition to the closed world of the novel, also oriented on the context. For this reason, the approach to analysis is to a certain extent interdisciplinary since the study of crisis, generation, and memory in literature requires a sociological, cultural, literary, and historical approach to obtain the overall understanding and interpretation of a novel in a wider context. Previous research on these novels has not focused on the experience of crisis within the framework of the family system, therefore this article provides new perspectives on the contextual character of the family crisis in contemporary literature, on the direct relation of the family to other social phenomena, and a new perspective in the research of the contemporary generational novel as a hybrid genre form.

Placentalna retorika – narativna avangardnost Pisma nerođenom djetetu Oriane Fallaci

Astrid KOVAČEVIĆ — Wed, 22 Mar 2023 00:00:00 +0100

U radu se razmatra mogućnost novog, interdisciplinarnog, neopoststrukturalističkog tumačenja romana Oriane Fallaci Pismo nerođenom djetetu. Polazi se od spoznaja poststrukturalističke teorije teksta te psihoanalitičkog feminizma, koji se proširuju rezultatima istraživanja iz područja stilistike i metrike. Na temelju kritičkoga čitanja teorijske literature te lingvističkom analizom odabranih ulomaka romana, opisat će se prisutnost specifične, metaforički prikazane, tzv. placentalne retorike, izraženo fonične i taktilne retorike, kojom autorica briše granice tjelesnog i psihološkog, stvarnosti i fikcije, teksta i konteksta. Ova neobična prededipska retorika, uronjena u biološka tkiva i tjelesne tekućine, predstavlja se kao kozmički vodeni prostor heterogenog, prostor unutar kojeg žensko tijelo progovara. Intimna komunikacija majke i njezina djeteta u utrobi, odnosno autorice i njezina nerođenog teksta, neobičnom kvantitativnom i kvalitativnom distribucijom interpunkcijskih i prozodemskih elemenata, fonetsko-morfološkim varijacijama, te subverzivnim pripovijedačkim bricolage tehnikama, predstavlja se kao simbol retoričke slobode, prostor odsutstva patrijarhalnih autoriteta, prostor pluralne, inkluzivne i fluidne, ženske i ženstvene tekstualnosti, unutar koje fizičko postaje metafizičko, tjelesno postaje grafološko, a pisanje postaje karnalna materijalizacija ljudskoga glasa.

Modernism of Antun Gustav Matoš’s Flaneur and the Postmodern Mediaspheric Flâneurism of Branko Čegec

Luka FRANJIĆ, Ivan Trojan — Fri, 17 Feb 2023 00:00:00 +0100

This article explores the relationship between Matoš’s modern literary oeuvre and his modern media flaneurism with Branko Čegec’s postmodern intermedial literary flaneurism, by relying on the theoretical considerations of Dubravka Oraić Tolić, Krešimir Nemec, Igor Gajin and Goran Galić. The article provides an overview of the history of terms flaneur and flaneurism, with an emphasis on how they apply to Čegec’s and Matoš’s work. Since the subject in the poetry written by Čegec meanders along the signifier paths, it is necessary to determine its position in relation to the subject in Matoš’s texts. The analysis confirms that Čegec, like Matoš, is using the postmodernist apparatus, albeit with certain literary departures, to rely on intermedial sources and traces, and is thus giving a symbolic postmodern response to Matoš.

Interpersonal Communication, Social Criticism, and the Poetic Code in Branko Čegec’s Poetry

Beatriz BRKIĆ, Paula Rem — Fri, 17 Feb 2023 00:00:00 +0100

The aim of this article is to decode the aspects of interpretative categories of interpersonal communication, social criticism, and the poetic code in Branko Čegec’s poetry and prose texts within the poetry collections Uspon i pad Koševskog brda, Sarajevo za prolaznike, and Pun mjesec u Istanbulu, as well as to contribute to the analysis and description of the poetics of his poetry. Čegec’s poems are interpreted with the help of Zoran Kravar’s concept of textual structures of the poetic sign and Jakobson’s and Buhler’s linguistic function, which analyses the internal semantics of the text, while the interpretive analytical system is taken from Goran Rem’s Koreografija teksta and Josip Užarević’s Kompozicija lirske pjesme. The analysis of the phenomenon of interpersonal communication is based on Kathleen Kelley Reardon’s and Roland Burkart’s research. This article analyses the models of diachronic intertextuality within the interpretative category of interpersonal communication, based on ironizing the Petrarchan love code, the function of the subject’s sexuality as a figure of provocation, the process of identity formation through the female subject’s liberation, and time and space categories that create the subject’s inner world. The process of deconstruction and construction becomes a means for creating the subject’s identity or the poetic code of its artistic identity. Intermediality, as one of the main characteristics of Čegec's poetics and the modern poetics in general, is recognized as a means of social criticism aimed at the limits of art, authority, power, and culture.

Resistance of the Subject in Branko Čegec’s Poetry

Lucija Jakić, Ivana Buljubašić Srb — Fri, 17 Feb 2023 00:00:00 +0100

The article analyses cultural and media traces in Branko Čegec’s poetry. They are researched, described, and interpreted from the perspective of subject structure in the three texts from Čegec’s three poetry collections published in the 1980s – “Genesis (domovina): vazda i dovijeka” from Eros-Europa-Arafat, “Abcčćdđdžefghijklmnnjoprsštuvzž” from Zapadno-istočni spol, and “Stanje stvari” from Melankolični ljetopis. The article explores the differences between individual and collective memory (J. Assmann), and the dominant and emergent culture (R. Williams), whereby the text becomes the space in which they clash. Traces of cultures and media are most often observed among the motifs, and their effects are notably in the resistance of subject structures that critically undermine the prevailing discourses of power, primarily through linguistic and discursive games.

The Aesthetics of Video Art in Branko Čegec’s Poetry

Darija SKOKIĆ, Sanjin SOREL — Fri, 17 Feb 2023 00:00:00 +0100

The article analyses the traces of video art aesthetics in the poetry of Branko Čegec, one of the “Croatian poets of the language experience,” as Zvonimir Mrkonjić termed that generation of poets, and of metalanguage poetry, as Goran Rem collectively called Čegec and the poets thematizing the aforementioned language experience. The aim is to address the elements of literary contact with the language of video art, that is, to approach the poetry recognizable as video art (of Nam June Paika and Laurie Andersson) due to its concrete, linguistic, material. The very term “language experience poetry” denotes that its main feature is the linguistic coding or meta-linguistics, thus the article also deals with the awareness of traces from other arts, primarily video art. The article is based on the definitions of intermediality, media, postmodernism, and video art. The analysis of selected works of art in this article emphasises the video elements of visual and auditory imagery, as well as provides new interpretations of Čegec’s poetry.

Sema and Soma in the Poems about Death by Constantine P. Cavafy

Nysret KRASNIQI — Fri, 17 Feb 2023 00:00:00 +0100

The aim of this article is to analyse Constantine P. Cavafy’s poems on death with the help of theoretical and hermeneutical literary principles and the interplay of the Greek words sema (“a grave”) and soma (“the body”). The aim is to study their forms and symbolisms as one of the fundamental motifs of Cavafy’s oeuvre. Simultaneously, the article will compare the poetic symbols with ancient philosophy on death (exemplified by Plato), as well as with the later authors’ (for instance, Stephane Mallarme’s) symbolistic considerations of death, which inspired Cavafy’s, modern, poetry. Through a textual analysis of his poetry on death, the poet’s influence and the sense of destruction he arouses in the reader will be explored. Furthermore, the article will focus on the thymotic power of his poetry, arguing that this author of historical heritage—that is, of the inheritance of Eros inheritance—is also an author of the inheritance of Thanatos.

Čegec’s, Tarantino’s, and Zajec’s Pulp Fiction

Martina BOBEK, Igor GAJIN — Fri, 17 Feb 2023 00:00:00 +0100

This article explores multimediality and diversity in the poetry of Branko Čegec, the film Pulp Fiction by Quentin Tarantino, and the novel Soba za razbijanje by Tomislav Zajec. Their comparison is based on intermediality as the main feature of postmodernism, which provides a two-way or multi-way relationship between the analysed works, since each of them is already characterised by intermediality and citability. The main structural components are emphasised according to which the three works or multimedia texts, are intermedially similar, primarily through motifs and topics. The aim is to reveal Čegec’s intense intermedial sensitivity as an open dialogue of intermedial traces on both formal and stylistic, and subjective structures. A similar sensitivity to other media can be found in Tarantino’s film and Zajec’s novel. The article aims to determine the elements common to all three authors, that is, the three aspects of their emphasized intensity of thematic and presentational intermediality. Finally, the conception of their works will be placed in the context of postmodern creativity as a highly communicative intermedial state.

Moćno djelo ženske ruke. Ružica Pšihistal, Studije o Marulićevoj Juditi

Krešimir Šimić — Fri, 17 Feb 2023 00:00:00 +0100

Recenzija knjige R. Pšihistal: Studije o Marulićevoj Juditi, Hrvatska sveučilišna naklada, Zagreb, 2022, 330 str.

Upute autorima

Ružica Pšihistal — Fri, 17 Feb 2023 00:00:00 +0100

Upute autorima

Adrese autora

Ružica Pšihistal — Fri, 17 Feb 2023 00:00:00 +0100

Adrese autora

Popis recenzenata

Ružica Pšihistal — Fri, 17 Feb 2023 00:00:00 +0100

Popis recenzenata