(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

Edgeworth je na televiziji gledao memoare o autobusnoj vožnji u Hitchcockovom uratku Sretni Jim kad je zazvonio telefon. Pauzirao je posebno kolekcionarsko izdanje Obiteljske zavjere i podigao stražnji dio naslonjača. Posegnuvši za slušalicom, primijetio je kako su kazaljke na satu zatrzale prema ponoći. „Halo?“ rekao je, pa za manje od sekunde ponovio: „Halo?“„Je li to gospodin Edgeworth?“Nije prepoznao ženin glas premda nije niti znao neku ženu koja bi ga imala razloga nazvati. „Pri telefonu“, rekao je.„Gospodin Eric Edgeworth?“„Još uvijek niste u krivu.“„Imate li par minuta, gospodine Edgeworth?“„Ne treba mi popravak kompjutora. Nisam imao nesreću na radu, niti bilo gdje drugdje. Ne kupujem ništa i neću vam reći gdje i što kupujem. Moji politički stavovi su moja stvar, kao i sve ostalo o čemu trenutačno razmišljam. Nisam nikad pobijedio na natjecanju, tako da se nemojte niti truditi tvrditi drugačije. Ne idem na godišnji u inozemstvo, tako da mi ne morate niti pokušavati prodati nešto ondje. Ni ovdje ne idem nikuda iako vas se ni to ne tiče. Želite li još nešto znati?“...

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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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Transgressivity, in a broad sense, denotes a state of movement from one distinct position, mode, or territory to another, be it spatial, geographical, mental, spiritual, or even narrative. Transgression occurs when one crosses boundaries, in other words, limes of different entities. Geocritical transgressivity, which is a multifaceted concept, may lead to a variety of interpretations at many different strata. Transgressivity finds echoes in Caryl Phillips’s narratives, at times in geographical forms, where a deterritorialized character crosses borders without ever gaining reterritorialization, at other times, in his fragmented narration where the reader stands at a threshold. Our paper uses Phillips’s A New World Order (2001) in particular as a key text through this geocritical lens of transgressivity to see to what extent it functions as the author’s map legend that presents a cartographic pattern of his writing in general. Our discussion also focuses on Phillips’s distinct analyses in A New World Order to shed light on his other narratives in a geocritical context. ...

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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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