Art and Subversion

Broj 1 - Godina 3 - 12/2012

Uvodnik

When discussing art, regardless of its form, expression, context, genre or any other classifying or defining feature, one of the key issues that constantly emerges as a thing of relevance is its connection to real life, its meaning to our everyday existence, together with its impact on historical, current, and sometimes even future social and cultural aspects of our lives. Within this context the idea of subversion comes to art almost naturally. By constantly reinventing itself, by expanding various social boundaries, which are in fact self-imposed limitations, art (un)successfully subverts everything that stands in its path, creating different approaches to established routines and perceptions, or even completely breaking down all of the traditional notions surrounding a particular segment or phenomena present in society...

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Izdvojeno

Herofil je pobjegao iz Osnovne škole “Domingos Jorge Velho” i sakrio se u odvodu za kišu. Iz tame, tih kao kamen, gledao je automobil kako se naglo zaustavlja i kako iz njega iskaču jedni te isti ljudi. Utrčali su u školu i brzo izjurili noseći profesora Aristidesa kojim su nahranili automobil. Dok je rukama gurala učenike kroz vrata, zadihana je ravnateljica gledala kola hitne pomoći. Pospremite stvari i vratite se kući. Nastava je za danas otkazana. A zmija, gospođo Carminda? Svi kući, smjesta. Ja ću se pobrinuti za zmiju.Ravnateljica je pričekala da i posljednji učenik šestoga razreda ode i zatim uzela dvije tablete za smirenje. Policija bi se mogla svaki tren pojaviti i početi postavljati pitanja – gospođa Carminda trebala bi imati spremne odgovore. Policija ju je uvijek strašila. Jedan nesiguran odgovor, oklijevanje, nervozni drhtaj, i policija bi mogla osumnjičiti ravnateljicu i poslati je u zatvor zbog zločina koji nije ni počinila. O, bože, koraljna zmija slobodno tumara prostorom škole, a gospođa Carminda, oduzeta od straha, sjedi u uredu i izmišlja drame. Iranildes, nađi mi broj Centra za reptile i otrovne životinje. ...

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Probing the dramatic monologue mould of Robert Browning (1812-1899) has maintained a long tradition of portraying this poet as an experimenter and pursuer of the Victorian representation de-norming process. Browning’s narrative verse employs ambiguation through syntactic rendition of his dramatic personae who voice their minds beyond the restraints of dialogic turn-taking and divulge their impulses through verbal dominance. Browning’s bicentenary seems a most auspicious moment to creatively explore the tenacity of his discordant narrative vein in literary translation. Browning’s fixation on engendering a poetic form that would fully sustain the self-projecting techniques of his protagonists resulted in the employment of narrative verse whose dialogic nature is undermined and embedded in his creations’ monologues. The poet utilizes innuendoes which originate not only from the pool of poetic references but also from the syntactic realizations disclosing a disparity between the speakers’ intentions and their verbal acts. Their interlocutors are being gradually drawn into a puzzling locutionary display. ...

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In his essay on Australian poetry of the early twentieth century, Nicholas Birns claims that the poetry of the given period was not at the time fully appreciated in the rest of the world, and that metropolitan centres placed low esteem on Australian poetic production (173). There was the lack, as he puts it, of “an efficient market”, caused by various factors, including the remoteness and isolation of the country, its distance from the hotspots of political crisis, and its “perceived rejection of modernism” (Ibid). It was the Anglo-American experimental modernism that the young Australian poets rejected, composing verse that “tended to rhyme and obey metrical contentions” (Ibid, 174) or at least have a certain melodic quality. In its stylistic aspect, this poetry was rather traditional, and the themes used were also quite different from those explored by American or English modernist poets: exploration by sea and land, and the European explorations of Australia in particular, was a very popular theme, along with the descriptions of nature and typically Australian landscape (as was the case, for instance, with the Jindyworobak school of poetry). Australian literature of the first half of the twentieth century, as noted by Tom Englis Moore, a well-known poet and professor of Australian literature, was marked by “[t]he ideals of peace, freedom and social justice combined with a marked realism” (Waten 26). The anti-realist strain in Australian literature was rather weak at the time when poets like T.S. Eliot and Ezra Pound wrote their best works across the globe. The only group of poets truly infatuated with modernism gathered around Max Harris (1921–1995) and called themselves the Angry Penguins. The group that was stimulated by the literary magazine Angry Penguins, was founded in Adelaide in 1940 by Harris and is today probably best-known not for their attempts to introduce modernism into Australian poetry, but for the infamous literary hoax perpetrated by two poets of a more traditionalist orientation, James McAuley (1917–1976) and Harold Stewart (1916–1995). Their main purpose was to debunk modernist poetry as meaningless babble, but what they actually succeeded in doing, as this paper aims to show, was advancing Australian literature beyond modernism into the kind of poetry that stylistically and thematically could be described as postmodern, and thus debunking not only the Angry Penguins’ writing, but their own traditionalist verse as well. ...

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Recepcija romana Les Champs d'honneur (1990.) Jeana Rouauda redovito se svodi na isticanje dviju njegovih komponenata: autobiografske i povijesne. Naime, u romanu je riječ o osobnoj i obiteljskoj priči, odnosno nedaćama koje su zatekle jednu skromnu obitelj iz francuske provincije 60-ih godina 20. stoljeća, ali i o zbivanjima iz Prvog svjetskog rata koja su toj priči prethodila. Tomu da romaneskni diskurs vuče na autobiografski pridonijela je usporedba, odnosno analogije iz života autora, Jeana Rouauda, s događajima iz romana, ali i brojne autorove paratekstualne napomene u drugim njegovim djelima gdje on te analogije dodatno naglašava i objašnjava. Riječ je, dakle, o samom po sebi kontradiktornom žanru autobiografskog romana s jedne strane te povijesnom romanu s druge, ako se, pak, takvim može nazvati roman čije se tek jedno jedino poglavlje izravno dotiče prave povijesne materije. Rouaud zapravo subverzira autobiografski i historiografski diskurs u romanu, a na trećoj razini tomu treba nadodati i intencionalno poigravanje literarnom tradicijom. Naime, književna kritika naziva Rouauda inherentnim „teoretičarem književnosti” (Lantelme, 122) jer je u cjelokupnom njegovu opusu prisutno promišljanje književnosti preko metadiskursa i kroz uvođenje autora među glavne likove. Autopoetičko seciranje vlastitog rada i njegovo stavljanje u suodnos s književnim prethodnicima nadalje je konstanta Rouaudova djela....

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