Деконструкција бића приповијести кроз приповиједање бића (original) (raw)
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Amfiteater 1, 2023
The essay focuses on selected examples of the deconstruction of the opposition between representation and presentation, characteristic of post-mimetic art from the neo-avantgarde to the post-millennium. It discusses the authors who have been deconstructing the concept of drama and inventing new forms of redramatisation and post-dramatic intermediality from the 1960s to the present day. Despite persistently creating disruptions in the fictional textual cosmos, particular authors – such as Peter Handke in Offending the Audience, the group Pupilija Ferkeverk in Pupilija, Papa Pupilo and the Pupilceks, Dušan Jovanović in Monument G and Play a Tumour in the Head and Air Pollution, Milan Jesih in Limits and The Bitter Fruits of Justice, Matjaž Zupančič in The Corridor and other plays, Dragan Živadinov and his team in Supremat and other farewell rituals, Oliver Frljić in Damned be the Traitor of His Homeland, Simona Semenić in 1981, and Žiga Divjak and Katarina Morano in various projects – establish a strong process of redramatisation in their theatrical texts and performances. It is as if, alongside the deconstruction of drama, they inject dramatic and theatrical elements into the post-dramatic process of staging and writing. Thus, post-mimetic art coexists with pre-mimetic art, as this “stripping down” of the representativity of drama led to the establishment of fiction.
Review: A Poetics of Postmodernism
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2017
This research establishes the key typological characteristics of the modern Serbian 20 th century novel, exemplified by the works of three major representatives of the Yugoslav/Serbian literary canon, who span the periods of Yugoslav/Serbian Modernism and Postmodernism: Ivo Andrić, Miloš Crnjanski and Borislav Pekić. The typology, based on a multiplicity of features, which include narrative structure, genre, historical contextliterary, philosophical and socio-politicalmaps the poetics of the Serbian postmodern novel as an evolution from and apotheosis of the literary innovations of Serbian Modernist poetics. This process of evolution is traced on the basis of the works of Andrić, Crnjanski and Pekić, who span a creative period between the first decade of the 19th century and late 1980s in Serbian literary production. Although much work has been done on the theoretical and historical definition of Yugoslav/Serbian Postmodernism, there is still no systematic study of the typology of narrative features which focus on the historical function of the relationship between, on the one hand, the Narrative Subject and the Narrator Figure and, on the other hand, the narrative structure of the Serbian postmodern novel. In other words, there is yet no Structuralist study of the poetics of Serbian Postmodernism. This is the gap which the present thesis aims to fill. The Structuralist analysis of representative works of Andrić, Crnjanski and Pekić, which is the core of this typology, is focused on the narrative structure of their novels and related innovative genres. The evolution of the Serbian postmodern novel is traced by means of this structural analysis as a process of the disintegration of the Narrative Subject and the reconstruction of the Narrator Figure. The Narrator Figure as a term used in this thesis does not imply any figurality in the construction of the narrator. The term "figure" is used as an abstract term, not intended to evoke connotations of "someone" in or "trousers" or that is with characterological features, even if the function of this Narrator Figure may imply a "person" such as an "editor". The Narrative Subject is considered a feature of the Modernist texts, while the Narrator Figure is a substitution for the Narrative Subject in postmodern texts. This is the evolution in the narrative structure of the Serbian novel from Modernism to Postmodernism. The gradual transformation of the Narrative Subject, which appears to carry the burden of the structure in Andrić, and Crnjanski's (early 20 th century) Modernist iv works, into a Narrator Figure in Andrić's and Crnjanski's and Pekić's postmodern works, has been traced by means of a close to the text analysis of the structure of the novels of these three writers at various stages of their poetic production. The Narrator Figure in the mature Serbian postmodern novel, exemplified by Pekić, functions as an Editor and Interpreter of Found Manuscripts or documents, thus relinquishing any claim to being an oracular figure like the traditional omniscient narrator. Moreover, his function can be taken over by any other character who is part of his narrated story. This disseminated or fragmented Narrator Figure determines the open novel structure of the postmodern Serbian novel, whose main innovative feature is the Embedded Text and intertextuality as key components of the new postmodern poetics. The overall aim of the thesis is to acquire a critical insight into the typological features of Serbian 20 th century prose in the context of European and world Postmodernism, with special emphasis on the postmodern poetics and postmodern condition of Yugoslav/Serbian literature.
The Central Modernist Question
Obnovljeni život
This paper presents an insight into the programmatic goals and broader intellectual context of the journal Život (“Life”) which was published continuously for a quarter of a century until the end of World War II (1919–1944) and which, after twenty–six years, was reissued in 1971 under a new name, namely, Obnovljeni Život. In the paper there is a concise presentation of the goals of the journal based on a brief programmatic text titled “What We Want” which can be found at the very end of the first volume. Then there is given an insight into the realisation of the same goals based on selected articles and essays from the first year of publication of the journal with its ten issues. Finally, in the central and most important sections of the paper, an insight is given into the broader movements of thought of the human spirit such as nominalism, the empirical sciences, neo–scholastics, Thomism and modernism in the historical context of which the journal Život appears and acts as a creati...
Postmodernism in Literature and Culture of Central and Eastern Europe. Ed. H. Janaszek-Ivaničková, D. Fokkema. Katowice: Ślask, 1996. pp. 245–256., 1996
A literary-historical narrative about the relationship of modernism and postmodernism towards the key text of the national literature seem productive, relevant and interesting if organized in terms of contrasts: subjectivity --- the decentralization of subjectivity (according to G. Hoffmann, A. Hornun and R. Kunow) and the epistemological dominant --- the ontological dominant of the text (according to B. McHale). In the intertextual revisions of Krst pri Savici subjectivity is at first, namely in the period of the Modern, full of vitalist opposition to the tradition and canonized images --- the individualized ego tries to rise above the symbolization of the collective, the social and the historical in Preseren's pre-text (Oton Zupancic). This rebellious stance from the early, anticipatory phase of modernism (I. Howe described it as the inflation of ego) changed in the Existentialist modernism of the sixties. That is when the subject begins to open epistemological questions: how to learn about the ,real', with canon and ideology untainted truth about Preseren's ,myth', how to intertextually depict it and attune it to the contemporary, modern world (Veno Taufer, Dominik Smole). In this context modernism problematizes its earlier subjectivism, it exposes it to the critical (self)destruction and depicts it as a metaphysical sturcture (Smole). Such a state represents the starting-point of postmodernist intertextual links which are meta-fictional: they in the eighties thematize and explicate aporeticality, the indeterminate nature of Preseren's text. They achieve this by pointing to the arbitrariness of the cognitive (interpretative) constructions about its meaning --- by underlining the epistemological dominant they discard the bases of all the intertextual variations of Krst and references to it until then. They also open up the ontological dominant, for they point to the fact that there is not only one single world but rather that there are several truths, that we are dealing with plurality, the pervasiveness of the possible textual and historical worlds (Andrej Blatnik, Branko Gradisnik, Dimitrij Rupel).
Modernity and Postmodernity. Some Reflections
Cultural Intertexts, 2018
Volume 8 of Cultural Intertexts-a Journal of Literature, Cultural Studies and Linguistics-brings together articles which result from research carried out by specialists at home and abroad. The common points of interest emerging from the authors' contributions are the representation of private and public selves, the politics behind the constructions of national, cultural and gender identity, as well as the more technical aspects of literary and filmic architectural design-with emphasis on experimentation, historiographic rewriting, intertextuality and the metadimension. The corpus under the lens includes a series of novels (What Maisie Knew, Rue with a Difference, American Psycho, One Flew over the Cuckoo"s Nest, Naked Lunch, The Reluctant Fundamentalist, The Hours, The Unbearable Lightness of Being), two plays (Cathleen Ni Houlihan, Noise) and two films (The Last Peasants. Journeys, Adaptation)-proposing incursions into older and newer, American and European writing which processes intriguing contexts, bears traces of earlier texts, and addresses a contemporary readership. A cultural anthropological study on the metamorphoses of Romanian identity inside the frontiers of Europe and/or within the European Union, as well as an analysis of the paradoxical fracture and merger identifiable with modernity and postmodernity, are also part of the collection. The editors would like to thank, once more, the members of the scientific committee, for the time and effort that went into reviewing the articles submitted, and for facilitating the publication of this volume.
A Handbook of Modernism Studies
Critical Theory Handbooks Each volume in the Critical Theory Handbooks series features a collection of newly-commissioned essays exploring the use of contemporary critical theory in the study of a given period, and the ways in which the period serves as a site for interrogating and reframing the practices of modern scholars and theorists. The volumes are organized around a set of key terms that demonstrate the engagement by literary scholars with current critical trends, and aim to increase the visibility of theoretically-oriented and-informed work in literary studies, both within the discipline and to students and scholars in other areas.
Three modernists: Witkacy-Schulz-Gombrowicz (similarities and differences) 1 Translated by David Malcolm Just as winged words exist in the common discourse, so too do winged names in literary history. In the history of twentieth century Polish literature these names are without a doubt Stanisław Ignacy Witkiewicz (Witkacy), Witold Gombrowicz, and Bruno Schulz. Interestingly, these three names are surely linked even more so than the names of birth brothers. Nobody writing about Thomas Mann has ever felt compelled to mention Heinrich or Golo Mann; however, the names Gombrowicz, Witkacy, and Schulz are associated almost automatically-almost as if they are not individual writers, but as if they are a literary Marx Brothers. Why then are Witkacy, Schulz, and Gombrowicz mentioned together? What do Nienasycenie (Insatiability), Ferdydurke, Szewcy and Sklepy cynamonowe (The Street of Crocodiles) have in common? What do Albertynka (Operetka ((Operetta)) and Adela (Sklepy cynamonowe), and Atanazy Bazakbal (Pożegnanie jesieni ((Farewell to Autumn)) and Józef Kowalski (Ferdydurke) have in common? Witkacy (1885-1939), Schulz (1892-1942), and Gombrowicz (1904-1969) were, without doubt, the greatest individualists of Polish literature in the interwar period. Today, their names are uttered in terms of literary legends, of which there are two dimensions. This fi rst stems from the fact that the fi rst two authors wrote about and to one another-these texts are immeasurably valuable to literary history today. Witkacy wrote about Schulz, while Schulz did not write so much about Witkacy as he did to Witkacy 2. Schulz, in turn, wrote about Gombrowicz, and Gombrowicz wrote about Schulz. These texts are three quasi-open letters published in the Warsaw periodical Studio 1 The fi rst version of this text was published [in:] W.