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. ..

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Izdvojeno

After an entire decade (1948-1957) of being strictly forbidden and anathematized, Czech crime fiction gained sway in the post-February literary life at the end of the fifties. There were several impulses that led to this occurrence: (1) fatigue of the constructive novel as a representative prose genre of the first half of the fifties, (2) the Moscow conference on Sci-Fi and crime fiction in July of 1958, and (3) a series of essays, Marsyas of the US, published in the beginning of 1958 by L. Dorůžka, F. Jungwirth and J.Škvorecký in Světová literatura revue. In addition to that, works of Czech literary classic writer Karel Čapek carried imense importance in the process of affirmation of crime fiction in the period 1958-1969, which can also be seen in the works of writers and literary critics of liberal (pro-western) orientation. This article analyzes Čapek's contribution to the “Rennaissance” of Czech crime fiction on two different levels. The first level is a review of connections between his book of essays Marsyas or On the sidelines of literature and essays by Dorůžka, Jungwirth and Škvorecky in Marsyas of the US. The second level aims to detect the Čapek motifs in crime fiction produced between1958 and 1969....

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The article begins with a brief discussion of what the author judges to be an overproduction of publications in literary studies. He offers an explanation of this development and contends that the causes are endemic to the humanities. Two causes of this overproduction are particularly pertinent for his reading of Melville: firstly, the constant change of interpretative paradigms and, secondly, the striving of the humanities to reflect upon the contemporary moment. The departure point of the reading is the spatial turn and the author's contention that this geographical knowledge has failed to address the sea. Elaborating on this contention, the author foregrounds the need for a maritime criticism and proceeds to read Moby Dick by excavating the manner in which Melville represents and thinks of the sea. On the basis of this evidence, the author argues that in Moby Dick, Melville offers a meontological thinking of the sea. Consequentially, the author argues that this meontology has a bearing on the present economic crisis and that it can be used in understanding the latest mutation of money. In the conclusion, the author claims that literary studies can make an important contribution to efforts to cope with the challenges of the present moment. ...

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Otvori oči, pa po običaju najprije baci pogled na sat na zapešću... Tek je pola sedam. No učas ih čvrsto zaklopi, iščekujući škriput kreveta i glas: „Ustaješ?“ Ali tišina potraja, pa otvori oči i uvidi, sama je u krevetu. Pa da, Rađan je noćas otišao u Delhi. Zaboravila je. Hm, sad nema razloga za žurbu. Udahne, duboko i polako, pa se s izdahom zakotrlja po cijelom krevetu. Dok je ležala na drugom rubu, s rukom preko lica, u ušima joj jače odjekne tika-taka njezina sata. Osmjehne se. Navikla je spavati sa satom na zapešću. Rađan se stalno nervira: „Zašto da ti sat cijelu noć kucka kraj uha. Hajde, skini ga.“ Makne ruku s lica, namjesti jastuk pod trbuh i opruži se, raskriljenih ruku, po cijelome krevetu. Ah, kakav je užitak spavati dokasno. Kad je Rađan kod kuće, već se oko šest, pola sedam sve ustrči. Priprema čaja, doručka, usto i ručka, a u osam Rađan odlazi u ured. Bog zna otkud Rađanu ta loša navika ranog ustajanja. Kako god, ona je danas slobodna. Može što poželi. Stoga opusti tijelo spremna da još malo odrijema....

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