In his dystopian novel A Clockwork Orange (1962), Anthony Burgess focuses on the phenomenon of adolescent violence in order to investigate the nature of the relationship between the individual and the societal body as a whole. While doing so, Burgess depicts the society of A Clockwork Orange precisely as he sees the modern society – as striving to achieve a predictable functioning of the societal life. In order to achieve the set goal, the society will resort to any means necessary, including a systematic disciplining of the individuals, who are in return expected to accept whichever the role the authority instances have intended for them. The individual who refuses to do so is labelled as “abnormal”, as Michael Foucault would say, and is to be corrected and shaped into an exemplar citizen.Foucault’s insights into the subject matter prove to be valuable for offering a possible interpretation of the issues at stake in Burgess’ A Clockwork Orange. Foucault’s reflections on the terms of power and discourse in their mutual correlation, and the role that they play in the process of an individual’s identity construction can serve to reinforce Burgess’ pessimistic outlook on the modern society as being fundamentally disciplinary and as aspiring to achieve societal obedience at the cost of individual freedom....

In this paper I look at the sci-fi film Blade Runner and the ways in which it tackles the question of defining the human and posthuman. The film examines the ability of technology to change our understanding of what is specifically “human” and raises some important bioethical, biopolitical, and epistemological issues pertaining to the accelerating development of technology and its imbrication in the medico-juridical system. I argue that “humanness” in the film is defined through the conceptual and spatial exclusion of replicants, who are not deemed worthy of ethical consideration and are thus not seen as subjects in the proper sense. However, the film ultimately subverts this distinction by showing not only that the other is produced in order to define the self, but also that the self qua human is not as authentic as one might think.Keywords: posthumanism, film, subjectivity, performativity, authenticity

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....

Irony and satire, two complex phenomena, find their respective places in the dramatic works of Max Frisch (1911–1991), a Swiss playwright and novelist and have gone through many changes gaining on different meanings, depending on the socio-cultural context, dominant literary and philosophical theories of a certain period of time in which they were analyzed and recognized as such. The aim of this paper is to show that Max Frisch, a 20th century intellectual who witnessed the major political, cultural and social changes of the second half of the 20th century in Europe and worldwide, uses irony and satire for coping with the reality and challenges of the time he lived in. Keywords: Max Frisch, dramatic work, irony, satire, 20th centuryNeutralna pozicija koju je Švicarska imala za vrijeme Drugoga svjetskog rata, a zbog koje je ostala pošteđena ratnih zbivanja te otvorenost klasičnim, ali i suvremenim europskim i svjetskim književnim te kazališnim utjecajima, stvorili su pozitivno ozračje za dobru, aktualnu i suvremenu švicarsku dramsku književnost na njemačkom jeziku nakon 1945. godine čiji predstavnik postaje jedan od najvećih švicarskih književnika, Max Frisch (1911–1991). U svojoj dugogodišnjoj književnoj karijeri Frisch je bio iznimno aktivan kao prozaist, napisavši pet romana, pet pripovijesti te četiri dnevnika, ali i kao dramatičar, ostavivši bogat dramski opus koji broji jedanaest dramskih ostvarenja napisanih između 1945. i 1978. godine. Upravo će Frischove drame biti predmetom ovoga rada, odnosno naglasak će biti na onima koje su se analizom pokazale najreprezentativnijima u cilju dokazivanja postojanja ironije i satire u istima kao mehanizmima suočavanja s izazovima koje je pred čovjeka-intelektualca stavilo 20. stoljeće, ali i kao sredstvima putem kojih Frisch progovara, kritizira i prokazuje besmisao jednog vremena kojemu je i sâm pripadao. ...