(Dis)placements

Broj 1 - Godina 6 - 12/2015

Uvodnik

The point at which all the texts collected in this issue of [sic] converge is the contended problem of (non-)belonging to a certain physical or imaginary place, with the accompanying experience of being displaced, replaced, or misplaced. The anxiety of displacement creates an increasing need – now perhaps more visible in contemporary societies than ever before– to move beyond the existing boundaries and limitations in a perpetual search of a place of one’s own, or otherwise place the fragmented experience of life within some spatial framework. Various aspects of and approaches to the broad concept and forms of displacement(s) provide the basis for considerations of artistic, literary and social phenomena offered by [sic]’s authors. ..

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Izdvojeno

This article is about twelve middle-class students, previously studying in elite primary and secondary schools, making another attempt at getting into university in Hong Kong. Despite their failure at a critical educational stage, which contradicts a general pattern of middle-class educational success, they decide to seek a second chance by reading an associate degree in community college, a perceived inferior educational option. Despite feeling determined, they are anxious and uneasy with taking up this option. How the middle class feel about their academic pursuits, especially after a critical failure, is under-researched. This article attempts to fill this gap by referring to Bourdieu’s notions of habitus and field to make sense of the complex or contradictory feelings of 12 students with a self-conscious, high-status, middle-class habitus in encountering a perceived low-status community college. I shall conclude this article with the normative implication of our discussion in making sense of educational inequality....

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Transgressivity, in a broad sense, denotes a state of movement from one distinct position, mode, or territory to another, be it spatial, geographical, mental, spiritual, or even narrative. Transgression occurs when one crosses boundaries, in other words, limes of different entities. Geocritical transgressivity, which is a multifaceted concept, may lead to a variety of interpretations at many different strata. Transgressivity finds echoes in Caryl Phillips’s narratives, at times in geographical forms, where a deterritorialized character crosses borders without ever gaining reterritorialization, at other times, in his fragmented narration where the reader stands at a threshold. Our paper uses Phillips’s A New World Order (2001) in particular as a key text through this geocritical lens of transgressivity to see to what extent it functions as the author’s map legend that presents a cartographic pattern of his writing in general. Our discussion also focuses on Phillips’s distinct analyses in A New World Order to shed light on his other narratives in a geocritical context. ...

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Gwen Pharis Ringwood (1910–1984) is one of the most eminent Canadian playwrights of the 20th century. In her drama Drum Song: An Indian Trilogy which consists of three parts: Maya (Lament for Harmonica, 1959), The Stranger (1971) and The Furies (1981) the author implements her knowledge of First Nations’ traditions and customs. Moreover, it is “in the lives of the Indian tribes [that] Gwen Ringwood had found an elemental struggle for survival that has produced conflicts comparable with those of Greek tragedy” (Perkyns 330). Such conflicts and elements characteristic of Greek tragedy find their place in this trilogy as well. Therefore, the aim of the paper is to analyse those elements, examine their function, the way and form in which they are presented in the trilogy. Keywords: Canada, drama, First Nations, Gwen Ringwood, tradition, tragedy, trilogy...

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Edgeworth je na televiziji gledao memoare o autobusnoj vožnji u Hitchcockovom uratku Sretni Jim kad je zazvonio telefon. Pauzirao je posebno kolekcionarsko izdanje Obiteljske zavjere i podigao stražnji dio naslonjača. Posegnuvši za slušalicom, primijetio je kako su kazaljke na satu zatrzale prema ponoći. „Halo?“ rekao je, pa za manje od sekunde ponovio: „Halo?“„Je li to gospodin Edgeworth?“Nije prepoznao ženin glas premda nije niti znao neku ženu koja bi ga imala razloga nazvati. „Pri telefonu“, rekao je.„Gospodin Eric Edgeworth?“„Još uvijek niste u krivu.“„Imate li par minuta, gospodine Edgeworth?“„Ne treba mi popravak kompjutora. Nisam imao nesreću na radu, niti bilo gdje drugdje. Ne kupujem ništa i neću vam reći gdje i što kupujem. Moji politički stavovi su moja stvar, kao i sve ostalo o čemu trenutačno razmišljam. Nisam nikad pobijedio na natjecanju, tako da se nemojte niti truditi tvrditi drugačije. Ne idem na godišnji u inozemstvo, tako da mi ne morate niti pokušavati prodati nešto ondje. Ni ovdje ne idem nikuda iako vas se ni to ne tiče. Želite li još nešto znati?“...

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