Altered States

Broj 1 - Godina 8 - 12/2017

Uvodnik

Non-thematic issues always represent a challenge, mostly premised on defining and constructing a subtle thread that would, at least apparently, unify all of the numerous submitted papers, thoughts and opinions about a variety of different subjects. Sometimes the final product, the metaphoric body of our journal, is a harmonious and perhaps even optimistic reading of cultural, social and literary phenomena, while on some other occasions the projected and articulated themes and ideas tend to be a bit harsher, stronger and more explicit in their nature. Such is the issue in front of you; in spite of the cheerful and celebratory time of the year, the segment dedicated to culture and literature is defined by the somewhat gloomy overtones of the presented ideas, merging silently with the foreboding shadows and the unfriendly figure insidiously dominating our cover. However, the articulated themes and analyses, while inclined toward the darker states and altered perceptions of reality, still form a rich tapestry of research and scrutiny, actively and significantly contributing to contemporary debates on the subjects at hand...

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Izdvojeno

The paper examines some of the Gothic features used in character development in William Faulkner’s Absalom, Absalom! and Toni Morrison’s Beloved, and explores how the two novels complement each other to form a comprehensive picture of the American South around the Civil War. In the traditions of Gothic realism and postcolonial Gothic respectively, the authors describe the 19th-century South as populated with supernatural beings: demoniac slaveholders, monsters who try to fight oppression, zombies whose souls have been devoured by the oppressive system, ghosts and revenants who return to haunt their wrongdoers, and hybrids whose transgressive nature is feared by the oppressors and the oppressed alike.Keywords: American Gothic, American South, character development, slavery, hybrids, monsters, ghostsEven though, as Allan Lloyd Smith points out in his survey of the 19th-century American Gothic, American writers like James Fenimore Cooper and Nathaniel Hawthorne complained that the New World lacked Gothic material, that everything was too new, bright and devoid of mystery (163), certain characteristics of the American continent such as racism, slavery, Puritanism and the vicinity of the frontier and the unexplored wilderness beyond it have contributed to the shaping of American literature as, in the words of Leslie Fielder, “bewilderingly and embarrassingly, a Gothic fiction, non-realistic and negative, sadist and melodramatic – a literature of darkness and the grotesque in a land of light and affirmation” (qtd. in Worrall 165). Although American writers do not often appropriate the Gothic genre in its entirety, elements of the Gothic are still easily discernible in many of their works. The American South has particularly proved to be suitable for Gothic treatment, and a whole subgenre of American Gothic dealing with the South has developed – the Southern Gothic....

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Knjiga Mirne Sindičić Sabljo, utemeljena na autoričinoj doktorskoj disertaciji iz 2013. godine, kako i naslov precizira, predstavlja sustavan, a treba pridodati i osobito temeljit, uvid u šezdesetogodišnju kazališnu, književno-povijesnu i kritičku recepciju iznimno važnog i vrlo utjecajnog odvjetka novije francuske dramsko-kazališne povijesti, u širem kontekstu poznatijem pod uopćenim Esslinovim terminom "teatar apsurda" koji okuplja niz, više ili manje srodnih, dramatičara iz Europe, ali i Sjeverne Amerike. Premda se pojam "teatar apsurda" udomaćio u hrvatskoj kritičarskoj i znanstvenoj terminologiji, autorica se ipak radije priklanja pojmovniku francuske književne kritike koja koristi termin Le Nouveau Théâtre naglašavajući kako nije riječ o sinonimima. Navedeni termin naime pod svoje okrilje okuplja dramske autore "koji su pisali na francuskom jeziku, između 1947. i 1968. godine, a koji se ne mogu vezati uz tradiciju francuskoga bulevarskog, politički angažiranog ili literarno-filozofskog kazališta." Drugim riječima, u knjizi se kronološkim redoslijedom prati hrvatska književna i kazališna recepcija niza istaknutih francuskih i frankofonih dramatičara, od tzv. prethodnika novog kazališta Alfreda Jarryja, Rogera Vitraca i Antonina Artauda preko Eugenea Ionesca i Samuela Becketta kao dvojice stožernih čvorišta, Jeana Geneta i ostalih u hrvatskom kontekstu manje utjecajnih ili slabije zastupljenih autora i autorica (kao što su Georges Neveux, Arthur Adamov, Michel de Ghelderode, Fernando Arrrabal, Roland Dubillard, Jean Vauthier, Margarite Duras, Robert Pinget, Nathalie Sarraute, Aimé Césaire, Romain Weingarten, Jacques Audiberti, Jean Tardieu, Boris Vian i drugi). O važnosti i značaju ovog istraživanja za hrvatsku komparatistiku i romanistiku najbolje govori podatak kako je u drugoj polovici 20. stoljeća uz američku upravo francuska književnost najzastupljenija u prijevodu. Imajući u vidu kako je ujedno riječ o najplodonosnijem razdoblju francuskoga dramskog i kazališnog života u 20. stoljeću, značaj navedene recepcije bitno se ogleda i u kontekstu povijesnoga, ali i estetskog razvoja hrvatske drame i kazališta. ...

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Sjedili smo na kamenoj klupi šivajući pretpostavke: sad lančić istina sad lančić laži, mogućnost da se međusobno razumijemo i euharistijsku tajnu puti što je tvoja kad mi se udaljuješ. To nam je postalo pukim pitanjem perspektive, bol. Kretali smo se oprezno kao ptica dvojbe, motrilo nas je opčinjavajuće oko samostrela. Više nismo shvaćali, samo smo ponavljali imena geparda, isijavanja brazgotine srčanih klijetki i dosadni krmelj glagola: istančani šav kože što nas dijeli od kamenja. Prožvakali smo gustu tišinu poput sjećanja na jutarnju maglu djetinjstva; odlazio si polako poput stada ovaca u smjeru vode i postao si šuma. Od tolike šutnje naučili smo govoriti ludilom praznine, i smisao nam je postao puka školska navada: ljubaznost ruku, s vremena na vrijeme, da bi se prebrisala divljačnost rase. Tako nestaje vrsta, vid naše janjeće ljubavi. Bila je to grčevita borba da se zaustave strojevi, da se razumijemo, govor kosilica i amfora teška trbuhu što preko oka nam usisava svu svjetlost stoljeća: krstili smo je kao slobodu. Potom smo se zakotrljali bijesni godinama, zgrabili smo se tako da su nam se prsti međusobno usjekli pod rebra, ali otajstvo zvijeri nas je ščepalo i mi smo vrisnuli toliko jako da je sve oko nas zapjevalo tankim glasom, a mi oglušismo. A to bje jer sam u ušima grijala jaje: milovala sam ga ustrajno u kosi prstima plahima od ljubavi, ali nam se sasušilo poput djece u ratu, i konačno, od tolikoga dodirivanja usahnulo. ...

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This paper begins by offering a brief overview of the popular culture narrative Crimson Peak (2015), directed by Guillermo del Toro. The analysis focuses on the most compelling Gothic trope del Toro reintroduces, the proverbial mansion, simultaneously displaying Freud’s heimlich and unheimlich elements, oppressing and liberating its inhabitants. Since the narrative revolves around two female protagonists, Lucille Sharpe and Edith Cushing, the paper also refers to feminist socio-cultural perspectives on space, primarily Gillian Rose’s and Shelley Mallett’s, in order to understand the position of the two protagonists within the decidedly Gothic space. This paper aims to emphasize that Lucille’s liberation as the mistress of the house is illusory regardless of the fact that she is represented as the embodiment of domestic corruption. It is precisely because she is a sexually active woman and a disruptor of the patriarchal order that she must ultimately be punished. Even though del Toro subverts the traditional image of the madwoman in the attic by positioning her at the center of the narrative, Allerdale Hall does not reveal itself as a space of female empowerment....

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