In attempting to represent political transformations, we often encounter a moment that seems to resist narrativisation, a moment of obstinate inconsistency which various theoretical, historical and fictional accounts cannot properly absorb except by way of indicating the parameters of a rupture. Here, I present a position which views these unrepresentable moments as structurally necessary features of revolutionary events. It is not simply that, at such historical junctures, we are faced with an abundance of information and that the unrepresentability or narrative deficit is the consequence of this surplus; on the contrary, the founding act that accompanies any radical transformation necessarily involves a certain temporal contraction. To the extent that narrative relies on a linear chronology, it fails to capture this moment of contraction. Indeed, this is why works of political philosophy associated with a founding contract (for example Hobbes’s Leviathan and Rousseau’s Social Contract) cannot fully suppress the moment of circularity in which the rhythm of chronological time skips a beat and, to paraphrase Rousseau, one requires an effect to perform the function associated with its own cause. If the moment of founding can be represented at all, it is only by way of paradox and metaphor....

1.At first the island is just a sign on a yellow board with a drawing of a vessel and the letters saying “Car Ferry,” then it is a grayish silhouette in the blue of the sea, and then, later still, an acquaintance working on the ferry, who just nods briefly in greeting. Jablanac, ferry port, its pleasant lobby, and then, from the upper deck, a giant rock approaching. That is the object of a year-long desire: the moment of stepping off the boat and smelling the rosemary, diesel and sheep droppings, seeing the sharp rocks looking at the Strait of Senj, coarse limestone in sharp opposition to the signs that say: Benvenuti, Welcome, Willkommen!At home, on the terrace, in the shade of the oleander, there’s no wish to eat. Only swimming trunks are put on and then, barefoot, without a towel or sun-tanning lotion, off to the beach.“Why won’t you eat something?” grandma asks.She knows that there’s an exciting world waiting out there, but she knows nothing of the details. All friends went on a boat trip. And suddenly one step from the shade of a path covered with oleanders and acacias leads into the burning sun of the afternoon. The light screams, just like children in the water, just like white objects that radiate as if there are some powerful light bulbs within. The feeling of freedom of someone who has just arrived in a foreign place and can now do anything. There’s no one familiar on the beach, they all got in the boat and left. The seafront leading to the camp is full of people, naked children with dirty faces licking ice cream, young families pushing strollers, groups of teenagers who have just woken up from their last night’s party. But there’s no one that must be greeted. The feeling of freedom that’s at the same time close to death. Suddenly, all paths are open. That there are no obligations or friends waiting, this afternoon, until they come back, is a complete boon....

King Lear as a product of evolutionary progressions is logical because the play is framed around two ideas of society and generation in direct confrontation. The sociopolitical ramifications of King Lear are clarified when viewed as an evolutionary progression because societal causality is mirrored in nature. The connection between Lear’s madness and nature’s role in determining societal evolution is demonstrated in the evolutionary notion that “everybody is what he typically is because his progenitors were what they were . . . [i]n the molecular structure of the minute germ of him,” (Maudsley 4) and that and social events are connected with the mechanistic march of nature. When Lear bellows “Crack nature’s molds, all germens spill at once,” (3.2.8) he is requesting the impossible, that the laws of causation be terminated and evolution be put on hold.Keywords: Evolutionary Criticism, reason, philosophy, Shakespeare, King Lear, consilience, evolution, mechanism, madness, nature...

Časna majka podigne pogled prema nebu kao da na njemu traži Božji znak dok joj je u očima oteklim od cjelonoćne molitve zablistala suza.– Kažete, sestro, da stari profesor odbija ići na misu?– Tako je, časna majko. Osim toga proklinje i vrijeđa presvetu Djevicu Mariju.– Nije važno, sestro. Odvedite ga u šetnju vrtom.– Da, časna majko.– Sestro…– Molim, časna majko?– Neka izgleda kao nesreća. Jedne noći nisam mogao zaspati, pa mi je mama stavila pod jastuk knjigu Put u središte Zemlje, rekla je da ću, ako brzo zaspim, sanjati baš te pustolovine. I kako sam te noći sanjao da sam se spustio do samog središta Zemlje, otada svake noći pod jastuk stavljam knjige, stripove i časopise koje želim sanjati. Kada sam se upisao na fakultet, oduševljeno sam otkrio da trik funkcionira s bilješkama, videosnimkama i fotografijama mojih kolegica. Tako sam diplomirao s najboljim ocjenama, zaradio gomilu novca i ostvario što god sam si zacrtao, sve dok mi večeras supruga nije zaprijetila da će me ostaviti ako ne bacim u smeće taj prastari jastuk iz djetinjstva. Jedva sam je uspio nagovoriti da na njemu odspava do jutra i sama otkrije zbog čega mi se toliko sviđa....