(Dis)placements

Broj 1 - Godina 6 - 12/2015

Uvodnik

The point at which all the texts collected in this issue of [sic] converge is the contended problem of (non-)belonging to a certain physical or imaginary place, with the accompanying experience of being displaced, replaced, or misplaced. The anxiety of displacement creates an increasing need – now perhaps more visible in contemporary societies than ever before– to move beyond the existing boundaries and limitations in a perpetual search of a place of one’s own, or otherwise place the fragmented experience of life within some spatial framework. Various aspects of and approaches to the broad concept and forms of displacement(s) provide the basis for considerations of artistic, literary and social phenomena offered by [sic]’s authors. ..

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Izdvojeno

Disability studies has a history of distinguishing the “dichotomy” between the biological and the cultural identity of the body and the attempts to deal with this conflict. Identity is divided into two registers of knowledge: the corporeality of the body and cultural ideas about the normal body. In his former two books, Enforcing Normalcy: Disability, Deafness, and the Body (1995) and Bending over Backwards: Disability, Dismodernism & Other Difficult Positions (1995), Lenard Davis tries to locate these focal points of entanglement between the biological and cultural. In Enforcing Normalcy, Davis attempts to analyze the historical origin and instrumentalization of the concept of the normal body (2), whilst in Bending over Backwards, he introduces the critical concept of dismodernism – a way of rethinking postmodern concerns with identity and how these relate to disability studies (27-31). In his third book, The End of Normal: Identity in a Biocultural Era, Davis explores a wholly new avenue of identity under the concept of biocultures. ...

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Tom Stoppard once famously proclaimed his guilt that art is unimportant. The character Moon from Stoppard’s early farce The Real Inspector Hound presents surprising evidence that Stoppard’s view of art in his early years as a playwright may have been more complex than he let on. The circumstances behind Moon’s journey into the very art he criticizes are not unlike Tom Stoppard’s foray into politically conscious drama. Moon desperately wants the thriller he is reviewing to mean more than it really does. His wish becomes a reality when a third party, Puckeridge, forcibly pulls Moon into the fantasy. Like Moon, Stoppard had a fantasy, a dream-world in which art has the power to enact social change. Stoppard was unwilling or unable to act on that desire alone, until his own Puckeridge, an artist and dissident named Victor Fainberg, compelled him to act on his dream and merge art with politics.Keywords: Stoppard, The Real Inspector Hound, Fainberg, art, politics...

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This paper examines David Mitchell’s Cloud Atlas (2004) and The Thousand Autumns of Jacob de Zoet (2010), with a particular focus on history and narrative time. It seeks to offer an alternative perspective on the multiple and intertwined fictional narratives of Mitchell’s oeuvre as these evidence a move past the "post-" of postmodernism. Keywords: David Mitchell, time, narrative, historiography, experimental fiction, post-postmodernismPostmodernism has cast an extended influence over much literary criticism in the last fifty years. However, with the end of the noughties now in reach of critical hindsight, and with the shock of September 11, 2001 beginning to subside, significant attention is turning once again toward the new literary vanguard. Efforts to discuss post-postmodernism, critical realism, new materialism, and new-millennial writing are certainly on a par with artistic and literary efforts to move beyond postmodernist playfulness and relativism. Within this broader framework, scholars have debated the fiction of David Mitchell, often straining to include his literary experimentalism with categories of the postmodern. However, resisting these efforts in the two novels chosen for analysis here, Mitchell’s writing appears to return from the abstraction and playfulness of postmodern poetics to settle as an engaged writing practice concerned with the materiality of time and of history. With time and history as its conceptual anchors, Mitchell’s more literary practice in the novels discussed here confronts developed postmodernist approaches to the past through an insistence upon a sense of time that abjures postmodern paradigms of uncertainty and relativity. This paper will examine time and narrative in relation to selected recent works by Mitchell in order to allow an alternative perspective on the workings of the multiple and intertwined fictional narratives across his novels; a perspective which can enlarge our understanding of how Mitchell continues to write his way out of the rhizome of postmodernist poetic practice....

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This article is about twelve middle-class students, previously studying in elite primary and secondary schools, making another attempt at getting into university in Hong Kong. Despite their failure at a critical educational stage, which contradicts a general pattern of middle-class educational success, they decide to seek a second chance by reading an associate degree in community college, a perceived inferior educational option. Despite feeling determined, they are anxious and uneasy with taking up this option. How the middle class feel about their academic pursuits, especially after a critical failure, is under-researched. This article attempts to fill this gap by referring to Bourdieu’s notions of habitus and field to make sense of the complex or contradictory feelings of 12 students with a self-conscious, high-status, middle-class habitus in encountering a perceived low-status community college. I shall conclude this article with the normative implication of our discussion in making sense of educational inequality....

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