The Book and Beyond

Broj 1 - Godina 2 - 12/2011

Uvodnik

About a year and a half ago, or perhaps it was more, no one seems to remember the exact day anymore, when we decided to start [sic] – a Journal of Literature, Culture and Literary Translation, in our minds we had a small journal that would nevertheless stimulate debates and challenge authors to participate with their contributions in hope of offering a somewhat different view on various topics and themes that we think about in our professional life and work. We hoped for some hundred or perhaps two hundred pages of articles, essays and translations; we counted on contributions from our friends and colleagues from Croatia and secretly dreamed that someone from abroad will find our journal interesting enough to join in. And today, when we are releasing our third issue that counts well over five hundred pages of articles, essays and translations, with more than twenty authors from all over the world, we are safe to say that we more than exceeded our initial expectations and even our wildest hopes. ..

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Izdvojeno

“America is now wholly given over to a d – d mob of scribbling women, and I should have no chance of success while the public taste is occupied by their trash…” (Hawthorne 304). However Nathaniel Hawthorne chose to voice his frustration with the American female writer, she did play a significant social role in nineteenth-century American cultural history. Formally removed from the political discourse of their generation, women activists turned to other means for disseminating opinions and disapproval. The rising genre of the novel was one of the most effective and visible forms available to American women. Viewed as an historical artifact, the novel was steeped in social convention and cultural ideology. Therefore, when women turned to it to voice opposition to Andrew Jackson’s Indian Removal Act, they did so by embracing the traditionally-accepted methodology of the novel, but altering it through subversive language and plots to suit their critical needs. The goal of this paper is to look at the social implications that surrounded Catharine Maria Sedgwick’s Hope Leslie or Early Times in the Massachusetts and Lydia Maria Child’s Hobomok, A Tale of Early Times by an American. By setting both of these works amidst the cultural atmosphere that gave rise to Jackson’s Indian Removal, I plan to look at the social and historic impact of Child and Sedgwick’s works as these two authors wrote out in opposition to the treatment and representation of the American Indian. Within the process, I intend to note several of the significant arguments regarding women’s role in social and political policy and the ability of women writers to reach the general public through their reading audiences. ...

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In the past four decades the U.S. cultural scene has witnessed a groundbreaking emergence of a number of Native American writers who have transformed the perception of minority literature, challenging Western audience to reconsider popular stereotypes and received assumptions of indigenous history, identity and culture. Today many of those writers hold prominent positions on popular bestseller and university reading lists, and interest in reading and studying their work is a mainstream trend. Committed to cultural and historical revisionism, they have also expanded the notion of a literary text, and the book as its traditional medium, turning it into a political weapon, a zone of conceptual contact, contestation and dialogue. With his third novel Fools Crow (1986) renowned Blackfeet author James Welch pointed his bow and pen in that direction as well.Set in the 1870s, the period of Indian wars, Fools Crow is a story about the tragedy of Native Americans caused by the coming of the Europeans. It captures the lives of Lone Eaters band of the Pikuni people, one of the bands belonging to the Blackfeet tribe, living on the border between American and Canadian Rocky Mountains. Told from Native American perspective, describing the time of dramatic transformation after encountering the Europeans, the plot of the novel centers around the life of the main character White Man’s Dog, later renamed Fools Crow because of his honorable performance in one of the battles. At the beginning he is just a young teenage boy, eager to finally set up his place as a successful warrior in his tribe. In spite of his initial insecurity and misfortune, he is growing into a successful warrior, hunter, leader, husband, and healer. Even though it seemingly follows Western tradition of the “identity narrative”, Fools Crow is not just a story about the experience and growth of an individual character illustrative of Western narrativity. This novel in many ways affirms Owens’s statement that “contemporary Native American authors are requiring that the readers cross over the conceptual horizon into an Indian world” (20). Right at the beginning, it invites a number of conceptual turns necessary for its understanding and interpretation. Blackfeet expressions and literal translations of words and concepts from the Pikuni culture blend with English sentences, making the novel a linguistic and conceptual amalgam. With no glossary provided, the text forces the reader to acquire the words like Napikwans (white settlers), blackhorn (buffalo), prairie runner (antelope), skunk ear (wolverine), ears-far-apart (owl), elk dog (horse), and accede to an anthropomorphic worldview in which swift silver people (fish) and the deities – Night Red Light (moon), Sun Chief (sun), Seven Persons (a constellation), Earth Mother and Wind Maker – are an integral part of human and earthly events. Throughout the novel, Pikuni words and cosmology continue to suppress Western ones, proving Onion’s thesis that, by inserting Pikuni words, Welch not only translates and mediates between cultures, but also creates a contact zone, invoking and affirming Blackfeet worldview (cf. Onion). ...

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The Croatian poet Augustin (Tin) Ujević (1891–1955) is one of the finest Southern Slav lyric poets and one of the great poets of Europe in the first half of the 20th century. What follows is a sketch of some of the qualities of his lyrical poems, from the particular perspective of an English poet who has translated some of them. My intention is to introduce a poet who, so far, has scarcely been registered at all in the English-speaking world, by prefacing translations of twelve poems. The idea here is to pick out strands and suggest possible entry points. I also want to explore some of the reasons why I think he merits the appellation ‘great poet’, one that is easy enough to bestow, perhaps too easy, but less so to justify. The procedure I shall adopt in the notes that follow will be suggestive and glancing rather than direct and expository. While the notes will of course move into and around some of Tin’s lyrical poems and suggest paths for critical analysis and interpretative discussion, they will follow zigzagging forays and tangential meanderings, some of which will spiral back on themselves, as well as paratactic jumps and juxtapositions with other reference points and contexts, especially in the Anglophone literary tradition, rather than any kind of straightforward march towards a preformulated thesis. The act of writing this involves discovery for me too. I learn by going where I have to go (Roethke 104)....

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Mislite li da možemo naučiti živjeti tako da napustimo ideju o svijetu nakon smrti, o nepovredivosti majčinstva, svetosti spolnosti, zatrovanost nacionalizmom, žeđ za beskonačnom slobodom i poštovanje industrije u zamjenu za ograničenje rađanja sa svrhom očuvanja ljudske vrste pri čemu bi se seks upražnjavao za zabavu, a sve to podrazumijevalo bi postojanje svjetske vlade, kontroliranu ekologiju i obrazovanje iz zabave?I da sve to moramo učiniti prije isteka dvadesetog stoljeća?Pa, baš i ne moramo. Samo, ukoliko to ne učinimo, naša će civilizacija biti uništena za trideset godina. I to je sve.Između ostalog, po zanimanju sam prorok. To jest, predskazujem budućnost i plaćen sam za to.Naravno, postoji tu i jedna kvaka. Nisam varalica, stoga je moja korisnost i više nego upitna. Kako ne prelazim rukom preko kristalne kugle, ne pružam usluge pratitelja kroz svijet duhova, nemam dara za otkrivenja i potpuno sam lišen mistične intuicije, nikome ne mogu reći koji će konj pobijediti na utrci, ili vara li nekoga žena, ili koliko će živjeti....

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