Literary Refractions

Broj 1 - Godina 5 - 12/2014

Uvodnik

As a ray of light, sound, or heat changes direction in passing obliquely from one medium into another changing thus its wave velocity, so changes a literary text with every new reading as the reader adds a new layer of meaning to it or, depending on your perspective, peels off the intricate fabric of words that the writer wove around the text's hidden meaning(s) to access its richness. The ninth issue of [sic] brings you a selection of papers in Croatian and English language that represent the result of such refractions. They discuss matters of literary subversion by means of comic effects, irony, satire, and anti-poetics, or social subversion by revealing modern society as being fundamentally disciplinary and averse to individual freedom. Interpreting texts written by Shakespeare and Levinas to those by Joshua Ferris, our authors cover a vast period of literary creativity only to show that what always and forever tickles the imagination of writers is the human condition. To write about the dreams and the human mind, or direct films that question the authenticity of life, means to employ different motifs and stories with the aim to return to ourselves and our daily existence refracted first by the creative genius of writers and then again by the curiosity of scholars. ..

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Izdvojeno

In this paper I look at the sci-fi film Blade Runner and the ways in which it tackles the question of defining the human and posthuman. The film examines the ability of technology to change our understanding of what is specifically “human” and raises some important bioethical, biopolitical, and epistemological issues pertaining to the accelerating development of technology and its imbrication in the medico-juridical system. I argue that “humanness” in the film is defined through the conceptual and spatial exclusion of replicants, who are not deemed worthy of ethical consideration and are thus not seen as subjects in the proper sense. However, the film ultimately subverts this distinction by showing not only that the other is produced in order to define the self, but also that the self qua human is not as authentic as one might think.Keywords: posthumanism, film, subjectivity, performativity, authenticity

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“Voys Lessons: Whirling Words in Chaucer’s ‘House of Rumour’” examines the lability of sound and its use in the dissemination, transposition, and authorship of stories within The House of Fame, a text exemplifying the mobility and flexibility of misused or unhinged words, as expressed through sound as opposed to text. By engaging the use and interpretation of sound in contrast to words, this new reading concentrates on the idea of narrative as material artifact with limited stasis. Geffrey’s pseudo-authorship, through his voyeuristic stance, engages the textuality of sounds and shows the related subtlety, elasticity, and democratic sociohistorical aspect of narrative construction. Chaucer’s dreamscape and use of authorial characters allows this argument to reposition the mobility and nature of sound, emphasizing its critical importance in the formation and corruption of stories, both written and oral.Keywords: sound, narrative, medieval, authorship, bricolage, authority, transposition, dissemination, context, Chaucer...

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Ivana Sajko is a young Croatian author (1975) whose theatre work is ascribed by contemporary anthologists to the so-called new Croatian drama (Rafolt 9). Leo Rafolt observes that, if such a notion can be recognized at all, its main features would include the authors’ experimental and destructive attitude towards conventional modes, as well as an increasing thematic occurrence of violence in written texts and on stage (9), thus making the new Croatian drama similar to the in-yer-face dramaturgy. The paper provides an overview of ideas which seem to prevail throughout Ivana Sajko’s theoretical and dramatic work, some of which represent an original and very personal approach to theatre and playwriting. In addition to this, the analysis of Sajko’s trilogy Archetype: Medea, Bomb-Woman, Europe in this paper will show Sajko’s perception and understanding of madness, revolution and limits of art, more precisely, writing through the female characters in these three monodramas....

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Everyone knows that each thing has many different ways of being looked at. If you say something is beautiful or ugly, these are just different ways of looking at the thing. Looked at differently, you can say it is true or false; or, to view it still differently, you can say it is good or evil. It’s still the same fact, viewed in different ways, so we say the phenomenon viewed has several different viewpoints. For example, that old pine tree in the garden, whether viewed by you or me or anyone, will still be an old pine tree. Yet you see it from a positive perspective and I see it from a negative one. Your viewpoint is that of a young person, mine is that of a middle-aged person. These differences in mood and personality influence the way we see the old pine tree itself. Although the tree is a fact, the way you see it and the way I see it are two different things. If you and I both take our impressions of the tree and try to paint them or compose a poem about them, even though our respective skills may be the same, your painting or poem will have many important differences from mine. What is the reason for this? It is simply that consciousness is not totally objective and which forms one sees has many different subjective aspects....

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