Utopia and Political Theology

No. 2 - Year 5 - 06/2015

University of Zadar | ISSN 1847-7755 | SIC.JOURNAL.CONTACT@GMAIL.COM

Editorial

Although utopias of different kinds have always stirred people’s imagination, it seems that the twentieth century rise of political theology brought about a particularly intense proliferation of utopian narratives. On the other hand, catastrophic failures such as that of the communist project gave rise to various subsequent reconsiderations of the utopian dream, dystopian nightmare and the thin line dividing the two. ...

Literature and Culture
Madelon Hoedt, University of South Wales, United Kingdom:

The words ‘utopia’ and ‘zombie’ are likely to conjure up strong images in the mind of the reader. The first makes one think of perfection, of happiness, of something new and better; the other, of the monstrous, of death and decay. Despite the fact that these images are arguably the most common, one can question their validity: can it be said that utopias are always perfect, and are the undead always monstrous? In this paper, I aim to explore the concepts relating to both utopias and zombies and the possible connections between the two, including a reading of the undead in light of the ultimate utopia: Paradise. In the light of these analyses, I propose a more positive approach to the figure of the zombie, which will be discussed as a counterpoint to the commonly held views of (religious) utopias. Keywords: utopia, dystopia, Christianity, Revelation, Paradise, Second Coming, zombie, post-zombieA man, dressed in an old, torn and dusty suit, is seen in the distance, staggering between the...

DOI: 10.15291/sic/2.5.lc.6
Literary Translation
Gordan Nuhanović and Una Krizmanić Ožegović:

I don't have a clue why I even travelled to Armenia; even now, after all these years, the reasons that brought me to that part of the world remain unclear. When someone asked me what was so interesting about Armenia, I mumbled something about its history, about its people adopting Christianity before the Romans and about little churches from the fourth and fifth centuries. “And what's wrong with our little churches? Look into your own backyard first,” they advised, “then turn to wherever you like.” Still, during that winter and spring of 1998, I felt an ever-growing desire to travel to Armenia. Days were getting warmer and the Japanese cherries in front of my building revealed their long-expected blossoms. And that’s how April passed. My flight was on May 1. I gave seemingly simple instructions to my girlfriend: “If I do not get in touch within two weeks, report me missing at the Embassy in Athens.” And more importantly: “Please, buy the Sports News next Sunday and find out the score f...

DOI: 10.15291/sic/2.5.lt.1
Literature and Culture
Camelia Raghinaru, Concordia University, Irvine, USA:

This essay starts from the premise that André Breton’s First Manifesto of Surrealism constitutes the ‘event’ of that movement (i.e., ‘event’ as defined in Alain Badiou’s Ethics), an event subsequently betrayed by its subject, André Breton, in his encounter with Nadja. Situated between rupture and repetition, the opportunity of the event returns in the Second Manifesto of Surrealism. Taking as its target Breton’s novel Nadja, the essay addresses the issue of event as repetition and explores the ramifications of the ‘failure’ to ‘imagine’ one’s continued fidelity to the event. Consequently, this article reads Nadja as a ‘failure’: the failure posed by representation itself, but also the failure of representation to completely annihilate the promise of a “beyond” encrypted in the project of surrealist imagination. Thus, I would like to play off the idea of failure in two complementary ways. First, I look at the ‘failure’ that is more significant than any achievement. Second, I address the...

DOI: 10.15291/sic/2.5.lc.3
Literary Translation
Zoran Ferić and Tomislav Kuzmanović:

1.At first the island is just a sign on a yellow board with a drawing of a vessel and the letters saying “Car Ferry,” then it is a grayish silhouette in the blue of the sea, and then, later still, an acquaintance working on the ferry, who just nods briefly in greeting. Jablanac, ferry port, its pleasant lobby, and then, from the upper deck, a giant rock approaching. That is the object of a year-long desire: the moment of stepping off the boat and smelling the rosemary, diesel and sheep droppings, seeing the sharp rocks looking at the Strait of Senj, coarse limestone in sharp opposition to the signs that say: Benvenuti, Welcome, Willkommen!At home, on the terrace, in the shade of the oleander, there’s no wish to eat. Only swimming trunks are put on and then, barefoot, without a towel or sun-tanning lotion, off to the beach.“Why won’t you eat something?” grandma asks.She knows that there’s an exciting world waiting out there, but she knows nothing of the details. All friends went on a bo...

DOI: 10.15291/sic/2.5.lt.6
Literary Translation
Harkaitz Cano and Andrea Rožić:

Bilo mi je samo devet godina, ali nikad neću zaboraviti dan kad su dali zeleno svjetlo projektu za izgradnju umjetnog jezera i kad smo postali sigurni da će naša kuća nestati pod vodom. Sva sredstva i sve žalbe bili su iscrpljeni i čekali smo još samo da otac uđe u kuhinju i obavijesti nas da je i zadnja presuda bila u korist umjetnog jezera. Vani je padala obilna kiša i monotono šljapkanje očevih cipela kad je ušao u kuću kao da je poručilo, pripremite se, sve će ovo uskoro preplaviti voda, bit će teško hodati ovuda, promijenit će se boje i teksture, ova se lampa nikad više neće upaliti jer žarulje ne gore pod vodom.Sve nas je to pogodilo. Ali njega, koji je otpočetka bio vrlo uključen u borbu, potpuno je pokosilo. Odnos mojih roditelja sve se više pogoršavao i ishodovati odluku koja bi zaustavila umjetno jezero bilo je jedino što je još moglo spasiti stvari, spriječiti naglu poplavu koja samo što nije potopila našu obitelj. Majka i otac to su znali i bili su svjesni da poraženo šljap...

DOI: 10.15291/sic/2.5.lt.2
Literature and Culture
Matthew Smith, University of Alabama, USA:

King Lear as a product of evolutionary progressions is logical because the play is framed around two ideas of society and generation in direct confrontation. The sociopolitical ramifications of King Lear are clarified when viewed as an evolutionary progression because societal causality is mirrored in nature. The connection between Lear’s madness and nature’s role in determining societal evolution is demonstrated in the evolutionary notion that “everybody is what he typically is because his progenitors were what they were . . . [i]n the molecular structure of the minute germ of him,” (Maudsley 4) and that and social events are connected with the mechanistic march of nature. When Lear bellows “Crack nature’s molds, all germens spill at once,” (3.2.8) he is requesting the impossible, that the laws of causation be terminated and evolution be put on hold.Keywords: Evolutionary Criticism, reason, philosophy, Shakespeare, King Lear, consilience, evolution, mechanism, madness, nature

DOI: 10.15291/sic/2.5.lc.1