Literary Refractions

Broj 1 - Godina 5 - 12/2014

Uvodnik

As a ray of light, sound, or heat changes direction in passing obliquely from one medium into another changing thus its wave velocity, so changes a literary text with every new reading as the reader adds a new layer of meaning to it or, depending on your perspective, peels off the intricate fabric of words that the writer wove around the text's hidden meaning(s) to access its richness. The ninth issue of [sic] brings you a selection of papers in Croatian and English language that represent the result of such refractions. They discuss matters of literary subversion by means of comic effects, irony, satire, and anti-poetics, or social subversion by revealing modern society as being fundamentally disciplinary and averse to individual freedom. Interpreting texts written by Shakespeare and Levinas to those by Joshua Ferris, our authors cover a vast period of literary creativity only to show that what always and forever tickles the imagination of writers is the human condition. To write about the dreams and the human mind, or direct films that question the authenticity of life, means to employ different motifs and stories with the aim to return to ourselves and our daily existence refracted first by the creative genius of writers and then again by the curiosity of scholars. ..

Pročitaj cijeli članak →
Izdvojeno

Timely, provocative, and theoretically sophisticated, the essays comprising In the Face of Crises: Anglophone Literature in the Postmodern World situate their work amid several critical global concerns: the devastation wreaked by global capitalism following the worldwide financial crash, the financial sector’s totalizing grip upon the world economy, the challenge to traditional definitions of “human nature” and identity posed by technologies of the body and of warfare, the quest of indigenous communities for healing from the continuing traumatic effects of colonization, and the increasing corporatization of the academy as an apparatus of the neo-liberal state – to specify only a few. Edited by Professors Ljubica Matek and Jasna Poljak Rehlicki, these essays deploy a broad range of contemporary theories, representing recent developments in cultural studies, the new economic criticism, postcolonial film studies, feminism and gender studies, and the new historicism. The eleven essays selected by Matek and Rehlicki offer convincing support for their claim that humanistic research delving into Anglophone literature, far from being a “non-profitable” pursuit in an increasingly technologized society, affords clarifying insights into contemporary “economic, cultural, and social processes in the globalizing and globalized culture of the West” (ix). ...

Pročitaj cijeli članak →

Padam unatrag u vrisak. Oštrice kosilice zazuje zrakom jedanput, dvaput, zariju se u meso, mišići se kidaju, kost puca i raskoli se, nebo se zabijeli. Motor reži, oštri čelični zubi deru tetive, paraju kuglice masti i glođu tkivo. Krv, meso, trava i zemlja u luku se dižu u beskrajno izbijeljeno zrakoprazno ništavilo. Sunovrati nečujno kimnu. Uz škripu metala, motor zabrunda, a zatim se zaustavi. Tišina.Povratak u zatvor.Prozorčići na vratima ćelija čvrsto se stisnu. Nevoljko se otvaraju, naglo, svaki na svojim vratima, kako bi oko pogledalo unutra, potom četiri koraka do sljedeće ćelije, klik, pogled, zatvoreno. Moja je ćelija broj 736a. Ležim na krevetu na kat i čitam članak o bolnici u Zimbabweu koja se zove Impilo, što na jeziku ndebele znači život. Tata moje Ame je iz Zimbabwea. Ali nije važno, ionako ga nikad nije upoznala.„Amadika“, rekla je kad smo se upoznale, nudeći mi svoje ime poput slatkiša umotanog u škotski naglasak. Amadika znači voljena. Opet se usredotočim na članak. Bolničko osoblje pali amputirane udove na lomačama. Šesnaest se tijela već u potpunosti raspalo, još šezdeset je u naprednim stadijima raspadanja. Generator više ne radi. Čitam svaku riječ. Ne usudim se ovdje predugo razmišljati o Ami. Izdržala sam deset godina bez nje u svom krevetu. Sada znam kako ubiti vrijeme. Znam kako ne poludjeti. No i dalje umirem, malo po malo, i ona je jedina koja će me spasiti. Jedina osoba zbog koje sam nešto osjetila, moja Ama, moja Amadika. Moja cimerica hrče na krevetu ispod mene. Sutra prvi put izlazim van bez pratnje, to je nagrada za dobro vladanje. Lijepo sam se ponašala cijelo jedno desetljeće. Vjeruju mi da ću se vratiti. Prozorčić na vratima naglo se otvori, oko pogleda i prozorčić se naglo zatvori. Moja je cimerica visokorizična, stigla je iz ćelije u kojoj je sedam žena počinilo samoubojstvo pa nas osoblje provjerava svakih dvadeset minuta. Zabrinuti su da neće izdržati pa su je stavili k meni. Ja sam stabilizirajući utjecaj. Slušač. Mentor. Uzoran zatvorenik. Lagano prdne na krevetu ispod mene. Njezina se djeca smješe sa stare fotografije. Svih troje sad je pod socijalnom skrbi, jedno je u domu u kojem sam i ja bila. ...

Pročitaj cijeli članak →

Flannery O'Connor's short fiction is overrun with female characters that embody the lost and corrupted ideal of the Southern Belle. O'Connor's method of shocking her characters into belief seems to take a harsher and uglier turn when it comes to women and this is particularly relevant to characters that not only renounce their femininity but also lack true spirituality. In this essay I examine three of O'Connor's female protagonists and it is my contention that these three women are emblematic of the decaying myth of the Southern Belle and of its treacherous nature. All three abandon – to some extent – the foundations on which this feminine ideal is based and by doing so essentially reject patriarchal authority. It is important to take into account the fact that their overstated assertiveness is often a result of an inescapable and harsh reality. However, I argue that O'Connor denies these women even a shred of sympathy because for her, rejecting the patriarchal scheme of life is, to a very large extent, a way of rejecting God's authority. While O'Connor criticizes the feminine Southern ideal by showing how oppressive it is towards women and thereby exposes the hypocrisy of the myth, she also uses its duality to validate her wrath towards these women who abandon the feminine ideal – and thus God – only to retrieve and exploit it when it suits them. All three characters project an unreliable, traitorous sense of womanhood and believe they can outsmart God. O'Connor – their creator and punisher – thought otherwise. ...

Pročitaj cijeli članak →

Ujutro je pred kuću stigao rasklimani kamionet. U njemu su sjedila dvojica muškaraca. Jedan se zvao Johan, drugi je bio stari crnac kojega nisam poznavao. U prikolici je stajala svinja, gadno stvorenje medvjeđe veličine, zlih očica. Jedva je čekala da provali i razbije nas. Spustili su vratašca prikolice i istjerali je van. Svinje koje sam viđao u divljini bile su crne, ova je bila ružičasta. Uvoz. Baš kao i mi. Našli su je kod seljaka u Tamarijnu.Muškarci su odveli svinju do drveta iza kuće, prebacili uže preko grane, jednim joj krajem zavezali stražnje noge i, podigavši je, objesili je naglavačke. Skvičala je iz petnih žila. Drvo se treslo od siline kojom se trzala na užetu. Kad je bila pola metra nad zemljom, crnac joj je jednim potezom prerezao grlo. Vrela je krv šikljala iz rane. Na tlu je stajala limenka od ulja u koju je krv istjecala. Zvijer se grčevito koprcala, oblijetale su je muhe. Zatim je još par puta zadrhtala i onda je bilo gotovo.Mesari su iscijeđenu mrcinu položili na radni stol u sjeni. Odsjekli su joj noge sjekiricom. Oštra je dlaka obrijana, trbuh rasporen. Ispale su iznutrice. Muškarci su radili smireno i brzo, otirući oštrice o hlače. Pas je zavijao trčeći naokolo....

Pročitaj cijeli članak →