Future Insights

Broj 2 - Godina 9 - 06/2019

Uvodnik

The articles presented in the 18th issue of [sic] discuss, in broad terms, the ways in which literary and cultural phenomena manage to transcend the temporal and spatial framework into which they were born. They thus provide understandings and intuitions with continuing relevance, and their impact extends – regardless of when they were created – well into the future. In the opening article, Dejan Durić and Željka Matijašević analyze the concept of intensity through psychoanalytic lenses, as it evolves from the 1960s counterculture toward the present-day forms of capitalism. Krešimir Vuković delves into the imagery of classical literature and explores what insights Homer, Hesiod, and Callimachus offered for future authors. Finally, Korana Serdarević turns toward teaching methodology and tackles the issue of whether 19th century literature can help shape the views of today’s (and tomorrow’s) society. ..

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Izdvojeno

Između gradskog centra i konačišta prostirala se velika močvara. Hladnoća pristigla s Atlantskog oceana u veljači ju je smrznula i pretvorila u veliko svjetlucavo polje. Žena je hodala prema konačištu. Bila je odjevena u krzneni kaput, nosila je visoke kožne čizme, a lice joj je izgledalo ljutito. Na nebu, između tamnoplavih oblaka, vijugavi trag mlaznog aviona. Pored grmlja žena je malo usporila. Nešto ju je žacnulo u srcu i ona se prisjetila nečeg vrlo davnog. Bilo je to sredinom ljeta, debeli, zeleni travnati tepih i cvilež svinje u rukama koljača. Žena je uspjela locirati sjećanje. To se dogodilo na drugom mjestu, u drugoj zemlji, i bilo je stvarno. Lice joj je postalo tužno. Gurnula je ruku duboko u džep kaputa i osjetila kako joj se hladnoća diže iz utrobe prema kosi.Čovjek u žbunju zaustavio je dah i čekao da žena stigne do točno određenog mjesta. U očima mu se zrcalio uplašen pogled, a žile su mu nabrekle na sljepoočnicama. U tišini je pričekao još trenutak-dva te je s leđa zaskočio ženu. Ona se srušila i udarila glavom o led. Čovjek je disao ubrzano i isprekidano. Usko, djetinje lice, svijetla, lepršava kosa i crne kožne rukavice. Udario ju je u lice i razgrnuo joj bundu, gurnuo joj ruku pod bluzu i pokušao joj strgnuti hlače. Žena nije vikala već ga je kritički promatrala. Činilo joj se da je nekako lijep. Pogledala je prema nebu. Bijela traka mlažnjaka nestala je. Vidjeli su se samo plavi oblaci i hladnoća koja joj je ukrutila bradavice. ...

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Taking as a reference one of the best-known works of science-fiction genre in general and the Soviet nauchnaya fantastika in particular, the novel Monday Begins on Saturday by the Strugatsky Brothers, the author attempts to investigate a special variant of the elaboration of the theme of beginning and end, which (especially in combination with the problems of space and time) seems to be a bizarre mixture of literary-cultural (including intertextual) and natural-scientific approaches to the subject and may be considered as the basic issue of the Strugatskys’ text. Single parts of the text, sequentially and in a multi-faceted connection with each other, develop the themes of internal and external space and time in their constitutive disturbances and infinity. The first part of the novel deals above all with the space outside of the Scientific Research Institute of Sorcery and Wizardry, as well as with the problem of the closure and (non-)transparency of diverse borders. The second so-called story focuses on the peculiarities of the internal spatial and temporal parameters of the institute, its physical and cultural-historical infinity as the main characteristics, and it culminates in the description of the absolute end as the collapse of the whole Universe. The third story is devoted to problems related to the general concept of time, the nature of its flow and the question of fundamental possibility of movement along the axis of this cosmological dimension. On the whole, the Strugatsky Brothers create an impression of some cultural-natural-scientific space-time without limits, or with those far beyond the directly specified place and time of the novel’s storyline....

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Most cultures mythologize their "beginnings." At the same time, there seems to be no culture or artistic formation to mention its "end." The only issue that is discussed is the end of the others. The end as such is also often strongly mythologized and takes an apocalyptic form. However, in Wisława Szymborska’s poetry we can see the "end" being clearly demythologized (both in its common sense and in the individual one – as the end of one’s life). In her poems, every "end" is simultaneously the "beginning" of something new. In the individual sense, this demythologization takes the form of juxtaposing the insignificance of human existence with the vastness of the world. Consequently, the death of a man does not mean the end of the world.Keywords: Szymborska Wislawa, Polish poety of 20th century, demythologizingUpotreba kategorija početka i kraja jedan je od simptoma doživljavanja svijeta kao nečega što je moguće izmjeriti. Same kategorije početka i kraja dobivaju u kulturi dva različita oblika – prostorni i vremenski. Pritom se prostorno mišljenje obično povezuje s nekom suvremenošću, nekim svijetom-sada-i-ovdje, dok vremenska varijanta – što je samo po sebi razumljivo – posjeduje dijakronijski karakter. ...

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In the center of our attention is the postapocalyptic situation in Andrei Platonov´s novel Chevengur, which is characterized by the absence of labor. This fact does not give evidence of the paradise for which the chiliasts strove but turns out to be one of the main reasons of its self-destruction. The author´s argumentation is built on the confrontation of the beginning and the end of the novel. In both cases, labor is represented in an unusually strange way. But in fact, there is a principal difference between these two representations of labor. In the first case, we are dealing with the rising line of the transition from peasant’s craft to proletarian labor, whereas the development of the “economy” of Chevengur is shown as a process of decline.Keywords: post/apocalyptic, chiliasm, laborU literaturi o romanu Čevengur (1926. – 1928.) nerijetko se spominju dva termina – apokalipsa i hilijazam (ili milenarizam). Apokalipsa je općenitiji termin koji označava eshatološku predodžbu kraja svijeta i čiji temeljni predložak pronalazimo u Otkrivenju apostola Ivana. Koncept hilijazma obuhvaća povijesne pokrete koji, oslanjajući se na predodžbe apokalipse, teže k tisućljetnom kraljevstvu na zemlji. Za razliku od hilijazma, apokalipsa se odvija bez čovjekovog upletanja. Kao što primjećuje Sergej Bulgakov, „eshatologija” je „potpuna suprotnost hilijazmu, ona nikada ne može postati povijesni cilj i ostaje izvan ljudskog dosega” (Bulgakov 221). Kod hilijazma najčešće je prisutan element društvenog protesta protiv nepravednosti, siromaštva, potlačivanja itd., koji se izražava u kvazireligijskim oblicima (Cohn). Hilijazam je ustanak protiv povijesti. Radi toga, boljševik Čepurnyj u Čevenguru „nije mogao podnijeti tajne vremena” (Platonov, Sobranie. Tom 3. 318). U hilijazmu se isprepleću povijesna i izvanpovijesna koncepcija vremena, budući da jedna pretpostavlja ljudsko djelovanje, a druga se oslanja na metapovijesno nadahnuće (Talmom 130)....

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