Gaze in Flux

The newspapers were heaped up on a low bench, the kind pupils use in the private classes of eccentric schoolmarms. Damata sat reading placidly and without haste. Engrossed in the news, he didn’t notice the maids singing in the kitchen or the kids playing noisy games of hide-and-seek. Each time he sat forward to grab another paper his deck chair groaned like ship’s rigging. The noise was driving him mad. He was sick of telling Bia to get it seen to and she just retorting: “Man, that chair’s fine, Damata.” Such pig-headedness! They’d lived together for years, had a few kids – yet that stubborn way of hers was still an obstacle to their getting properly married. All the same, no good house in Mindelo closed its doors to her, for Nhô Damata was an upstanding man and had recognised their children.From his waistcoat pocket he removed a silver-edged snuffbox. With a sharp tap, he knocked the contents forward before taking a pinch between thumb and forefinger.Good stuff this. He took his snort...

Valter Hugo Mae tim je riječima u romanu opisao početak, zapravo nastavak potrage za smislom, iskazujući istinske emocije ljubavi, privrženosti i požrtvovnosti, baš kako i dolikuje majkama.Bog u tami (Deus na escuridao) posljednji je dio druge tetralogije Valtera Huga Maea, portugalskog književnika novije generacije, jednog od najznačajnijih portugalskih umjetnika 21. stoljeća. Svojom osebujnom poetikom ostavlja važan trag u razdoblju suvremene književnosti, koje istaknuta teoretičarka književnosti Ana Paula Arnault naziva hipersuvremenošću (hipercontemporaneidade).Ovaj četverodijelni ciklus obuhvaća romane svedene pod zajednički naziv „braća, otoci, odsustva”. U spomenutu tetralogiju spadaju romani Dehumanizacija (A Desumanizaçao) iz 2013. godine, zatim Beskrajno poetični ljudi (Homens Imprudentemente poéticos) iz 2015., Bolesti Brazila (As Doenças do Brasil) iz 2021. godine te posljednji o kojem pišemo, Bog u tami (Deus na Escuridao) objavljen 2024. godine.

Written in the aftermath of the Great Exhibition of 1851, Villette represents Charlotte Brontë’s literary exploration of nineteenth-century glass culture and its significant impact on urban identity and perception. This essay examines how glass in urban spaces and consumer culture reshapes characters’ self-perception and their experience of city life. After briefly discussing Brontë’s lasting interest in urban themes and her visit to the Great Exhibition, I focus on scenes in Villette involving mirrors and windows. These scenes reveal Lucy’s fragmented sense of identity through her reflections and her desire to control and frame her visual experiences. Finally, I analyze the exotic scene in Chapter 38, “Cloud,” where a spectacle is imaginatively presented behind a pane of glass, reflecting the display principles of the Great Exhibition.Keywords: Villette, Charlotte Bronte¨, glass, mirrors, windows, the Great Exhibition, urban identity, spectacles

Saba, Nick Hakim i dvije pjesme u pjesmi

Zemlja. Ametist. Trešnje na vrućini. Stabla sline šećere. Pjesma ponoćne modrine. Raj je što?
Kraljevstvo sjedinjeno plahim božanskim dodirom? Izvor zelenila i rijeke? Ako
Bog Otac govori: prvo robuješ i drhtiš i ljuštiš se i umireš i umireš da te u raj
propuste na stražnji ulaz, sad pognuto zrnce – laži. Nema vrata, nema reda. Gle, ipak postoji:

poljupcem smo oživljeni – zelenimo se. U klupku se uz nas oglasi – rijeka je rođena ovdje.

Serial ?he Genius of Russian Detection, I. D. Putilin, written by Russian author Roman Lukich Antropov (Roman Dobryi) at the beginning of the twentieth century, undoubtedly falls into the category of detective fiction; however, the titles of its individual instalments, such as The Secrets of Okhten Cemetery, The Bloodsucking Vampires of Petersburg, The Spring of Volga Sectarians etc., suggest a strong influence of Gothic literature. The article aims to expose the presence of Gothic literary devices in Antropov’s stories, including the introduction of supernatural monsters, namely ghosts and vampires, dismal atmosphere, sublime locations, structures, and objects, causing temporal distancing from the present into the past, suspenseful episodes invoking terror, and horror-infusing visualities. Moreover, the article proposes that the intention behind these elements is not merely to complicate the mystery and intensify the reader’s experience but also to convey cultural meaning related to t...

Moje pronicljivo oko ne slabi tijekom pregleda i sada pomno istražuje moguće simptome pothlađenosti na bezizražajnom licu žene koja čita. Što to čita? Oprostite, kažem napokon, puhnuvši tu riječ u bijeli šum. Žena ne pomiče nijedan mišić, ni milimetar njezina tijela ne grči se, čak ni ne trepće. Oprostite. Mogu li sjesti? Moje usne mehanički izbace te riječi – to je pitanje dio sklopa kojim hinim milosrđe i koji sama svakodnevno podmazujem uljem. Mogu li? Noge su mi olovne, koljena se koče, bole me zglobovi, zapešća, a najviše kvrgavi nožni palci. No ženu to ne dira i na tren pomislim: da uistinu želim sjesti, mogla bih to učiniti; ova je klupa javno dobro, to jest, moja koliko i njezina. U tom slučaju, moja je molba blesava: mogla bih sjesti, no ne želim niti bih trebala sjesti – snijeg na klupi smočio bi mi bijelu suknju, bijele hulahopke, gaćice i mlohavu kožu dupeta. Da sjednem, smočila bih se, osjetila bih hladnoću poput vrele plahte koja mi prlji guzu. No tražila sam da sjednem, ...