The Book and Beyond

Rad će postaviti pitanje nudi li danas Mreža alat za “osnaživanje čitatelja”, kako je najavljivala hipertekstualna teorija devedesetih. Interaktivnost kao “prirodan” oblik pismenosti postala je ideologem razumijevanja elektroničke pismenosti. No je li danas uistinu riječ o demokratizaciji čitanja-pisanja putem odabira smjera, “kretanja” virtualnim prostorom teksta? Rad će naglasiti razliku između Web 2.0 žanrova i koncepcije hiperteksta te razliku tekstualne i vizualne pismenosti. Ono što ćemo ovdje nazvati “topografskom proizvodnošću” bitno se razlikuje od “distributivne proizvodnosti” kakvu danas susrećemo na Mreži. Mreža nije orijentirana isključivo na proizvodnju virtualnog dérivea, trodimenzionalnog prostora kretanja, već je riječ prvenstveno o komunikacijskom kanalu. Umjesto topografije, za Mrežu će biti ključno povezivanje bilo kojih dviju točaka i uspostavljanje kanala “distribucije”. Temelj distributivne strukture jesu mrežni protokoli, prvenstveno TCP/IP protokol koji omoguća...

In fine-tuning Turusbek Madilbay’s rough dictionary translation (a ‘trot’) I became convinced that a good match between writers and editors or translators is essential. I imagine it’s tempting for a writer to throw up her hands, to abdicate responsibility and let the publishing houses use their stock translators, but I recommend that creative writers learn about the process of translation in order to find the best partner for putting their work into another language. The responsibility must never rest solely with the translator, who is always working with limited information and within temporal and fiscal constraints. It’s always, to some degree, piecework. I hope it’s not a breach of publishing protocol to read reviews of work by, and to solicit samples from, several literary translators, and then choose among them. A beginner will do the job more cheaply, but will the skill be there? Do not leave the job to chance. My spotty linguistic background was well-suited to working with a tro...

Straußeneimondaber ich finde nichts mehrnichts mehr an Buchstaben im Wortmache so ähnlichwie Luftgang ohne Seiles fällt nichts mehraber nichts ist eben auchZaungrenzeund LebenMittelstelzengangder Strauß legt seine Eier in den Himmelfast Massenproduktionkugelrunde Stundenmit Haut auf wirren ÜberzugHände greifen leerwenn nicht duaber das kann nicht –Angsttauchen mit Höhengangund die Hand als Schalewer fängt, – verliert!Mjesec od nojevog jajetaali nema ničeg višeničeg više u slovima riječičinim sličnokao hod po zraku bez konopcaništa više ne padaali i ništa jestgranica od ogradei životsredinom na štulamanoj liježe svoja jaja u nebogotovo masovna proizvodnjasati okrugli poput loptes kožom na neurednoj presvlaciruke posežu u praznoako nisi tiali to ne može –uron u strah s letom u visinei ruka poput ljusketko ulovi, – izgubi!Prevođenje poezije oduvijek se smatralo osobitom temom unutar ionako složenog područja književnog prevođenja. Budući da poezija predstavlja književni oblik u kojem su sa...

Carol i Robert Norris bili su stari prijatelji Nickove žene Joanne. Upoznali su se davno, mnogo prije nego što je ona upoznala Nicka. Poznavali su je kada je bila udana za Billa Dalyja. U ono vrijeme njih četvero – Carol i Robert, Joanne i Bill – friško oženjeni studenti na zadnjoj godini povijesti umjetnosti – živjeli su u istoj kući, velikoj kući na Seattleovoj verziji Capitol Hilla, dijelili stanarinu i kupaonicu. Često su zajedno jeli i sjedili do sitnih sati, pili vino i razgovarali. Jedni su drugima pregledavali i komentirali radove. Tijekom te zadnje godine zajedničkog života – prije nego što se pojavio Nick – čak su kupili jeftin brodić kojim su ljeti zajedno plovili jezerom Washington. “Kakva su to vremena bila, i dobra i loša, puna uspona i padova”, rekao je Robert drugi put toga jutra osmjehujući se i promatrajući lica prijatelja za stolom. Bila je nedjelja ujutro, a oni su sjedili za stolom u kuhinji Nicka i Joanne u Aberdeenu i jeli dimljeni losos, kajganu i peciva sa sirn...

What is a book? Perhaps the notion refers firstly to an articulate format: to a substantive amount of printed pages bound together. Yet it also presupposes an articulate discourse: these pages are bound together for a reason, they have a single organizing principle in the conceptual as in the material level. The order in which the pages are arranged corresponds to the gradual spinning out of an overall sense. Furthermore, this coherent material and discursive entity circulates in social worlds, becoming charged with different attributes according to context. A consistent symbolic role in a given time and place may lead a book to operate as the book, or at least allow the generic idea of the book to act as a constant mediation in our relationship with any particular volume. Homi Bhabha, for example, has described how “the English book” – a blanket reference to canonical Western texts such as The Bible – impacted the postcolonial contexts in which it was introduced. According to Bhabha, ...

“America is now wholly given over to a d – d mob of scribbling women, and I should have no chance of success while the public taste is occupied by their trash…” (Hawthorne 304). However Nathaniel Hawthorne chose to voice his frustration with the American female writer, she did play a significant social role in nineteenth-century American cultural history. Formally removed from the political discourse of their generation, women activists turned to other means for disseminating opinions and disapproval. The rising genre of the novel was one of the most effective and visible forms available to American women. Viewed as an historical artifact, the novel was steeped in social convention and cultural ideology. Therefore, when women turned to it to voice opposition to Andrew Jackson’s Indian Removal Act, they did so by embracing the traditionally-accepted methodology of the novel, but altering it through subversive language and plots to suit their critical needs. The goal of this paper is to ...