University of Zadar | eISSN 1847-7755 | SIC.JOURNAL.CONTACT@GMAIL.COM
Editorial
The papers collected within this entr'acte issue use different perspectives and standpoints to explore what happens between the acts – regardless of whether these are acts of a play, acts of speech or some other kind of social intercourse, or – broadly speaking – various acts/actions/activities that pertain to fictional worlds. It could arguably be expected that between the acts there is nothing of significance – utter silence and empty rows of seats in a theatre hall – or some form of light entertainment at best. These spatiotemporal lacunae, vacancies left gaping for however short a time, still possess the power, as all the papers in this issue seem to indicate, to construct and project new meanings of their own, or at the very least create potential for re-interpreting the adjacent ideas and contents, as well as exploring the problems of context, causality and sequence. ...
The present research attempts to highlight the functions of silence in confrontational discourse in television interviews within the framework of Critical Discourse Analysis (CDA) and Conversation Analysis (CA). The research starts with the hypothesis that silence can be used for expressing power in discourse. Since silence represents an element of discontinuity in speech, it occurs relatively rarely in confrontational discourse, which is characterized by continuous flow of speech and a quick turn-taking system. However, when it does occur, it is particularly obvious and can represent either an expression of power or absence of power. The research focuses on pauses and gaps, analyzes their functions of power, and is conducted as a contrastive analysis between English and Serbian. The results obtained show that both in the English and Serbian corpora, silence in confrontational discourse can indeed be a means for expressing power, but also a sign that the speaker is in an unfavourable p...
The article begins with a brief discussion of what the author judges to be an overproduction of publications in literary studies. He offers an explanation of this development and contends that the causes are endemic to the humanities. Two causes of this overproduction are particularly pertinent for his reading of Melville: firstly, the constant change of interpretative paradigms and, secondly, the striving of the humanities to reflect upon the contemporary moment. The departure point of the reading is the spatial turn and the author's contention that this geographical knowledge has failed to address the sea. Elaborating on this contention, the author foregrounds the need for a maritime criticism and proceeds to read Moby Dick by excavating the manner in which Melville represents and thinks of the sea. On the basis of this evidence, the author argues that in Moby Dick, Melville offers a meontological thinking of the sea. Consequentially, the author argues that this meontology has a bear...
Critics have widely explored John Fowles’ The French Lieutenant’s Woman, Graham Swift’s Waterland, and A. S. Byatt’s Possession. These novels are generally treated as outstanding historiographic metafictions since they self-consciously adopt the notion of history and simultaneously problematize historical understanding. For Hayden White, the historian is inevitably impositional and every narrativized history is relative. Following White, Linda Hutcheon defines postmodern historical fiction as the type of fiction that self-reflexively and paradoxically makes use of the notion of history and simultaneously denies its truthfulness. The present article attempts to analyze, compare, and contrast John Fowles’ The French Lieutenant’s Woman, Graham Swift’s Waterland and A. S. Byatt’s Possession: A Romance in light of the theories of White and Hutcheon to show that in spite of problematization of the possibility of recovering the past as it actually was, these novels treat the concept of histor...
Not just another dictionary in the well-known Rowman & Littlefield “Historical Dictionaries” series – South American Cinema is a special kind of book for anyone delving into the broad field of national and regional cinema encompassed by the term South American. Author Peter H. Rist is a professor at Concordia University in Montreal and his PhD thesis dealt with the early films of John Ford. Rist is better known within film circles as the author of several papers on experimental Japanese cinema, so his solo venture into South American cinema is quite unexpected. It is even more surprising that he has produced a 701 page book of this stature on his own – definitely a huge task.What is quite different about this book is evident right from the title – South American – not Latin American, Hispano-American, or any other expected paradigm based on the language or the hyper-cultural context. Rist, as he notes in the preface, tried to envision a book bordered by the notion of the whole continen...
Horror: A Literary History, edited by Xavier Aldana Reyes, is divided into seven chapters which function as separate essays that can be read without having specific knowledge about the horror genre. If read systematically, the book presents an anthological review which establishes the continuity of the genre from 1764 to the early twenty-first century. Even though it privileges theory over textual analysis, the book can be used to elucidate numerous cultural productions and developments that have influenced the simultaneous evolution and devolution of horror by offering a precise insight into the continual interaction of social and literary spheres. Horror: A Literary History is valuable precisely because it questions the devalorizing stances towards the horror genre by acknowledging the importance of various writers who have contributed to the evolution of American and British literature but have often been marginalized because of their tendencies to transgress into the horror genre.
meke donje strane tvoga jezika
