Between the Acts

Broj 1 - Godina 7 - 12/2016

Uvodnik

The papers collected within this entr'acte issue use different perspectives and standpoints to explore what happens between the acts – regardless of whether these are acts of a play, acts of speech or some other kind of social intercourse, or – broadly speaking – various acts/actions/activities that pertain to fictional worlds. It could arguably be expected that between the acts there is nothing of significance – utter silence and empty rows of seats in a theatre hall – or some form of light entertainment at best. These spatiotemporal lacunae, vacancies left gaping for however short a time, still possess the power, as all the papers in this issue seem to indicate, to construct and project new meanings of their own, or at the very least create potential for re-interpreting the adjacent ideas and contents, as well as exploring the problems of context, causality and sequence. ..

Pročitaj cijeli članak →
Izdvojeno

This December it will be ninety years since Agatha Christie disappeared for eleven days and despite the fact that there are many biographical books about her life and work, nobody knows for sure what provoked her to vanish, sending shockwaves in British society in 1926. Whatever the cause may be, this disappearance has remained a mystery and inspired French authors Anne Martinetti and Guillaume Lebeau, along with the illustrator Alexandre Franc, to create a graphic novel: Agatha: The Real Life of Agatha Christie. Marinetti has also written a cookbook inspired by Agatha Christie, entitled Creams and Punishments, while together with Lebeau, she has co-authored the encyclopedia Agatha Christie from A to Z.Agatha: The Real Life of Agatha Christie was originally released in 2014 as a French-language Kindle edition and was first published in English in May, 2016 by the UK press SelfMadeHero, which specializes in graphic novels and manga adaptations of classic literature, like those of Shakespeare, Poe and Kafka. The story is told through 112 illustrated pages and concludes with a thorough timeline of key events in Agatha Christie’s life, as well as a complete bibliography. It is noticeable that novels and story collections featuring Hercule Poirot take up the greater part of her bibliography. The authors of this biography assume a similar approach in showing the significance of this fictional character in Christie's career (and life), representing Poirot throughout the text as her companion and advisor without using any graphic techniques to stress the fictionality of his character. The authors make strong attempts to convey the close relationship that Christie built with her most prominent character, one who always seems to appear in this biography during her moments of extreme loneliness, and one to whom Christie owed a great deal – as she admited herself when she decided to buy the Greenway House in December 1938 (Martinetti, Lebeau, and Franc 80). ...

Pročitaj cijeli članak →

Kuća je imala tri sobe, dva dnevna boravka, kupaonicu, blagovaonicu, kuhinju, sobu za sluškinju, podrum, terasu i dvorište.Što je za Eduarda značilo dvorište?Značilo je zemlju kojom je jurio orući štapom, iskopanu krhotinu stakla iz kojeg je izišao crv prepolovljen napola, ali koji se još micao, uvijek moguće postojanje kakva blaga, lokve blatnjave vode u vrijeme kiša, papirnati brodić, jednog mrava u njemu, liniju mrava koju je pratio da vidi kamo idu. Išli su u mravinjak. Manga sapatinho, manga manga-coracao-de-boi. Šećerna jabuka, goiaba, gabiroba. Kokošinjac. Bijela kokoš bila je njegova, bilo je jasno iz imena: „Eduarda!”Stisnula bi se i dopustila mu da je uzme u ruke. Katkad bi snijela jaje. Kada bi odlazio u školu, Eduardo bi je ostavljao ispod lavora. Jednom zgodom otac mu je rekao da to nije u redu: zar bi volio da netko to radi tebi? I kokoši pate. Jedne nedjelje za vrijeme ručka zatekao je Eduardu na stolu, s nogama u zraku, pečenu. Pojeo ju je kroz suze. Da, pate, no svi ih jedu i misle da je to u redu....

Pročitaj cijeli članak →

The present research attempts to highlight the functions of silence in confrontational discourse in television interviews within the framework of Critical Discourse Analysis (CDA) and Conversation Analysis (CA). The research starts with the hypothesis that silence can be used for expressing power in discourse. Since silence represents an element of discontinuity in speech, it occurs relatively rarely in confrontational discourse, which is characterized by continuous flow of speech and a quick turn-taking system. However, when it does occur, it is particularly obvious and can represent either an expression of power or absence of power. The research focuses on pauses and gaps, analyzes their functions of power, and is conducted as a contrastive analysis between English and Serbian. The results obtained show that both in the English and Serbian corpora, silence in confrontational discourse can indeed be a means for expressing power, but also a sign that the speaker is in an unfavourable position....

Pročitaj cijeli članak →

This essay examines the long-standing and far-reaching influence of Oscar Wilde’s public persona – both historical and mythical – on author Beverley Nichols. Nichols, famous during his lifetime for both his non-fiction and reportage, has sustained his fame primarily through his Allways and Merry Hall gardening trilogies. These feature a semi-autobiographical version of the author who is self-styled as a spiritual successor who pays homage to, and extends the legacy of, Oscar Wilde and his endless bon mots, serving up irony, humor, and social commentary in an engaging, urbane manner while further shaping the Wildean identity that prevailed as an iconic gay style throughout much of the last century and that endures, in some forms, even today. Keywords: queer theory, Oscar Wilde, Beverley Nichols, Pet Shop Boys, queer identityOscar Wilde’s final words as his three harrowing trials and, indeed, his remarkably verbal life drew near their close – “And I? May I say nothing, my Lord?” – serve as a potent reminder of the many forces that conspired to silence the man, his work, and the desire he came to represent, for better or worse, to so many. Nearly a century after that utterance, his words continue to resonate, as a refrain, perhaps even a plaintive cry, for the Pet Shop Boys (PSB hereafter) and many others, suggesting that Wilde, as the long-reigning patron saint of queer men, still holds sway in matters of self-styling and queer identity formation based in nostalgia. From the spectacle of his downfall emerged a mythical Wilde – martyr, champion of queer desire, arbiter of style and wit – based in the biographical as much as the fanciful, who inspires Wilde nostalgia even today. Beverley Nichols, especially in his two mid-century “gardening” trilogies, pays homage to the cultural construct we call Oscar Wilde with his endless bon mots, serving up irony, humor, and social commentary in an engaging, urbane manner while further shaping the Wildean identity that prevailed as an iconic queer style throughout much of the last century and that enjoys nostalgic revivals by artists like PSB over a century later. ...

Pročitaj cijeli članak →