30 research outputs found
(Bio-/Cyber-/Robo-)technologically Enhanced and Designed āPeopleā in the Most Recent Croatian Dystopian Prose
The following paper focuses on typification and cataloguing of the various manifestations of body decorating and enhancing in selected novels and stories, and also tries to examine their meanings, what changes they bring, what attitude of the authors towards technological progress they reveal and what social/cultural phenomena and processes they reflect. The paper also questions the upgrades of the human mind and the transformations of humans into some other forms of existence. Nine contemporary dystopian novels and five short stories have been studied for the purposes of this research. The methodological framework consists of texts that question the enhancement of the human body conducted in various ways, especially through biotechnology, bioengineering, cybernetics, robotics, etc
CHILDRENāS LITERATURE IN LJUBOMIR MARAKOVICāS FOCUS
Pored djelÄ hrvatske književnosti namijenjenih odraslima, u vido- krug književnoga i kazaliÅ”noga kritiÄara i povjesniÄara Ljubomira MarakoviÄa uÅ”la su i neka djela namijenjena djeÄjoj populaciji. Na korpusu književnih kritika o djelima Ivane BrliÄ-MažuraniÄ, Jagode Truhelke, Vladimira Nazora, Josipa Cvrtile, Zvonimi- ra Peteka i Guida Tartaglije razvidno je da je MarakoviÄ oÅ”tro, ali pravedno sudio o produkciji namijenjenoj djeci (i mladima): podvlaÄio je rijetke uspjeÅ”nice meÄu brojnim djelima za djecu uz istodobnu srÄanu borbu za status djeÄje književnosti. Zbog komparativne metode koju je rabio u analizama, provedbe kul- turoloÅ”ke, potom strukturne (npr. karakterizacije likova, pozicije pripovjedaÄa i lika) te lingvostilistiÄke analize, s naglaskom na re- cepciju djela, uz istodobno uvažavanje pedagoÅ”koga i metodiÄkoga pristupa, Ljubomira MarakoviÄa možemo smatrati pravim pro- micateljem djeÄje književnosti: ne samo Å”to je nagovarao svojega pretpostavljenog Äitatelja na Äitanje djela nego je za njega gradio i prosudbenu hijerarhiju, uÄio ga je razdvajati vrhunska djela od prosjeÄnih i ispodprosjeÄnih.Croatian literary and theatre critic and historian Ljubomir MarakoviÄ wasnāt only interested in literature for adults but also in childrenās literature. The corpus of literary criticism of the works by Ivana BrliÄ-MažuraniÄ, Jagoda Truhelka, Vladimir Nazor, Josip Cvrtila, Zvonimir Petek and Guido Tartaglia shows that MarakoviÄ harshly but fairly judged the production intended for chil- dren (and young adults): he wrote reviews for many exceptional works of literature, fighting at the same time for the status of childrenās literature. Due to the comparative method he used in analyses, the implementation of cultural analysis, then structural analysis (eg characterization of characters, the position of the narrator and the character) as well as linguistic and stylistic analysis, with an emphasis on the workās reception, while respecting the pedagogical and methodical approach, we can consider Ljubomir MarakoviÄ a real promoter of childrenās literature: not only did he persuade his implied reader to read works, but also he built a judgmental hierarchy for him, teaching him/ her to separate superior works from average and below average ones
Der Raum im Roman Äudnovate zgode Å”egrta HlapiÄa
PolazeÄi od teorijskih postavki suvremenih teoretiÄara poput Henrija Lefebvrea, Edwarda Soje, Michela Foucaulta, Gastona Bachelarda i dr., rad iÅ”Äitava Äudnovate zgode Å”egrta HlapiÄa kao roman ceste (kretanja) i roman prostora (razotkrivanja znaÄenja prostornih uporiÅ”ta), uz neizbježno isprepletanje dviju perspektiva, uzimajuÄi u obzir autoriÄino u proslovu viÅ”ekratno nagovijeÅ”teno žanrovsko odreÄenje djela (pripovijest). Protagonist romana napuÅ”ta sigurno utoÄiÅ”te vlastitoga doma preÅ”avÅ”i kuÄni prag, a upravo se ova prostorna minijatura na kojoj se odvija HlapiÄev izlazak iz kuÄe malim recipijentima sugerira kao toÄka iz koje trebaju stupiti u priÄu, kao mjesto njihova ulaska u narativni prostor. NaÅ”avÅ”i se na putu, mali flaner (od trenutka kraÄe Äizmica, tragaÄ za rjeÅ”enjem problema) osvaja prostor raznim osjetilima, registrirajuÄi mahom pozitivne znaÄajke ruralnoga krajolika, a negativne urbanoga. HlapiÄevo se lutanje odvija po nemapiranome prostoru, topografski ispražnjenome, po kojemu su razmjeÅ”tena sporadiÄna spacijalna hvatiÅ”ta poput Å”taglja, mosta ili kamenoloma te posebno važna heterotopija sajma i njoj subordinirana heterotopija cirkusa, dva mjesta āizvan svakoga mjestaā (Foucault), koja je ipak moguÄe locirati.Starting from theoretical assumptions of contemporary theoreticians such as Henri Lefebvre, Edward Soja, Michel Foucault, Gaston Bachelard, this paper considers the novel Äudnovate zgode Å”egrta HlapiÄa [The Brave Adventures of Hlapich the Apprentice] as a \u27road novel\u27 and a representative of the \u27space-oriented novel\u27, taking into account the genre\u27s specification as implied in the preface by the author. The main protagonist of the novel leaves the safe haven of the only home he has by crossing the doorstep, and it is precisely this space miniature, in which Hlapich\u27s departure takes place, that is offered to young readers as their point of departure into the story, i.e. their entry point into the narrative space. Finding himself on the road, the little flĆ¢neur (from the moment his shoes are stolen, he becomes a problem solver) conquers place with various senses, registering mostly the positive features of the rural landscape and the negative ones of the urban one. Hlapich\u27s wandering occurs in an unmapped space, topographically emptied, across which sporadic spatial points of reference, like a barn, a bridge or a quarry, are deployed, as well as the particularly important heterotopia of the fair, and the one subordinated to it ā the heterotopia of the circus ā two places that \u27\u27are outside of all places\u27\u27 (Foucault), even though it may be possible to locate them in reality.Ausgehend von den AnsƤtzen zeitgenƶssischer Theoretiker wie jenen von Henri Lefebvre, Edward Soja, Michel Foucault, Gaston Beachelard u. a., wird der Roman Äudnovate zgode Å”egrta HlapiÄa [Wunderbare Reise des Schusterjungen Clapitsch] als āStraĆenromanā bzw. Variante des āraumorientierten Romansā interpretiert. Dabei wird die Verfasserin im Vorwort vorgenommene Gattungsdefinition des Textes als ErzƤhlung berĆ¼cksichtigt. Der Protagonist verlƤsst den sicheren Hafen seines Heimes, indem er die Hausschwelle Ć¼bertritt. Gerade diese rƤumliche Miniatur, innerhalb der sich HlapiÄs Auszug in die Welt vollzieht, dient sowohl als Ausgangspunkt der Geschichte wie auch als Eintrittspunkt fĆ¼r die Rezipienten in den ErzƤhlraum des Romans. Der kleine Flaneur, der Vagabund HlapiÄ, der nach dem Raub seiner Stiefel zum Problemlƶser wird, erobert auf seinem Weg den Raum mit unterschiedlichen Sinnen. Dabei nimmt er die vornehmlich positiven Merkmale lƤndlicher bzw. negativen Aspekte urbaner Landschaften wahr. HlapiÄs Wanderung vollzieht sich durch einen unvermessenen, topographisch entleerten Raum, in dem sporadisch rƤumliche Bezugspunkte wie die Scheune, die BrĆ¼cke oder der Steinbruch vorkommen. Darunter ist der Heterotopie des Jahrmarktes, sowie dem ihr untergeordneten Zirkus besonderer Stellenwert beigemessen, denn obgleich sie lokalisierbar sind, handelt es sich um āOrte auĆerhalb aller Orteā (Foucault)
Biblical Characters and Events in the prose of Mara Švel-GamirŔek
U radu se analiziraju autoriÄini prozni tekstovi krÅ”Äanskoga nadahnuÄa objavljeni u zbirci Legende te u katoliÄkim tiskovinama: MaruliÄu, Veritasu, Kani, Paxu, Glasu koncila, Vjesniku ÄakovaÄke biskupije, Gore srca te u godiÅ”njaku Danica. Izdvojeni su oni tekstovi koji govore o likovima i dogaÄajima o kojima Äitamo u Bibliji. Analizira se naÄin oblikovanja likova, njihova zastupljenost rijeÄima ili mislima u tekstu, potom pozicija pripovjedaÄa, tip fokalizacije te pripovjedna linija itd. U fokusu su i analize književnih povjesniÄara, teoretiÄara i kritiÄara Å veliÄinih proza krÅ”Äanskoga nadahnuÄa od vremena objavljivanja zbirke Legende do danas s ciljem propitivanja eventualne promjene prihvaÄanja i ocjene ovoga dijela opusa Mare Å vel-GamirÅ”ek tijekom vremena. Kako je rijeÄ o beletrizaciji biblijskih dogaÄaja, pozornost se posveÄuje i biblijskomu intertekstu, navode se mjesta iz Biblije, s oznakama knjiga, poglavlja i redaka, a mjestimice se podvlaÄe sliÄnosti i eventualna odstupanja od ishodiÅ”noga teksta. TakoÄer se raÅ”Älanjuju i biblijski simboli, uglavnom biljni i životinjski, kao važna sastavnica tekstova krÅ”Äanskoga nadahnuÄa.The paper analysis Mara Å vel-GamirÅ”ekās prose texts of Christian inspiration published in the prose collection Legende and in the Catholic journals: MaruliÄ, Veritas, Kana, Pax, Glas koncila, Vjesnik ÄakovaÄke biskupije, Gore srca and Danica. The special emphasis is given to the texts dealing with characters and events present in the Bible. The analysis covers the models of character development, their representation in the words and thoughts in the text, the position of the narrator, the type of focalisation, the narrative line, etc. The focus is also on the literary historiansā, theoreticiansā and criticsā analysis of Å vel-GamirÅ”ekās prose of Christian inspiration from the period of publishing the prose collection Legende until today. By doing that, the paper traces changes in the literary evaluations of that part of Å vel-GamirÅ”ekās opus through the time. Since the respective works are a sort of beletrization of the biblical events, the special attention is given to the Biblical intertext, while stressing similarities and departures from the original text. Finally, the paper also analysis Biblical symbols, mostly plants and animals, as an important element of the texts of Christian inspiration
THE MULTI-LAYEREDNESS OF THE ILLUSTRATED BOOK OTOK (THE ISLAND)
Otok (eng. The Island), an illustrated book, depicts a dystopian future of an unnamed Croatian island. Grandma, the main heroine and narrator, welcomes her granddaughter Zrinka, who arrives by boat from Zagreb. The majority of the island has sunk, and the remainder is inhabited by a few elderly people. Former Mediterranean vegetation has vanished, there are no animals, the sea is poisonous and greasy, the land is poisoned and barren, and the sky is cloudy but devoid of rain. The goal of this paper is to determine which issues emerge in the illustrated book and how they are depicted, as well as to evaluate aesthetic characteristics of the story. The importance of narration in the book cannot be overstated - two stories are told from Grandmaās point of view: the story of the dystopian present (told in the present tense), which is the opposite of Grandmaās melancholy story of the past and Hans Christian Andersenās fairy tale of Thumbelina. Thumbelina is also the main intertext of the illustrated book, which is dominated by a romantic concept of childhood (the kind that Grandma remembers). That image of childhood contrasts with Zrinkaās posthumanist childhood, which is represented by a completely altered Little Red Riding Hood in the form of a computer game