Motley Tales (1833) is one of the completed cycles by V. F. Odoevsky. The writer wished to create a number of cycles, but did not complete a significant number. The article substantiates the ...importance of viewing Motley Tales as an aesthetically integrated whole due to the order of their arrangement, and common themes and motifs, and despite their “motley” nature. The author discusses the diversity of subject matter in fairy tales, but focuses on only one motif — that of “objectification”. It is important for the entire corpus of work by Odoevsky. The author substantiates the cyclical nature of this motif in the Motley Tales. The term “objectification” is understood in the article in accordance with the concept put forth by M. M. Bakhtin. This scientist called “objectification” of various transformations of a person into an object, or the reduction of a person to an object. The “objectification” motif will be vital for F. M. Dostoevsky, and will already emerge in N. V. Gogol’s work, but even before that — in V. F. Odoevsky’s Motley Tales. “Objectification” is immediately mentioned in the prefaces by the publisher and the writer. Subsequently, this motif manifests itself in all the fairy tales, whose characters are either inclined to objectify others, or are themselves subjected to objectification. Sometimes they do not notice it or even find pleasure in it, yet at other times they recognize their position with horror. The motif of revival is also present in the cycle: a person throws the death veil off his soul, while objects proclaim their humanity. On the whole, however, the deadness of the world in Motley Tales remains unresolved. Inert captivity fetters objects and people who are increasingly more immersed in everyday life. At the same time, the bleak state of the ethically tense world of characters is overcome in its own way in the cycle’s aesthetic reality. Awareness of materiality, its humorous play upon it, conviction in the inexhaustibility of the eternal poetry of being, open up a scintillating opportunity for the resurrection of “living life.”
Članak daje pregled zastupljenosti analize naučnofantastične književnosti i naučne fantastike u drugim segmentima popularne kulture u srpskoj antropologiji. Ovom pregledu prethodi razmatranje naučne ...fantastike kao žanra uz svest o fluidnosti žanra i preplitanju podžanrova, kao i transformacijama koje naučna fantastika doživljava u pojedinim medijima (knjiga, film, TV serija i video igre). U srpskoj antropologiji istraživanje naučne fantastike je zastupljeno srazmerno više nego proučavanje nekih drugih fenomena budući da je broj antropologa, čiji su radovi prikazani u tekstu, relativno veliki kada se uzme u obzir veličina antropološke naučne zajednice. Uzroci tome najviše leže u zajedničkom usmerenju na određena pitanja, kao što su na primer: ko smo mi, a ko su drugi, šta je osnov stvaranja i građenja identiteta ili koja je uloga konteksta u prepoznavanju vrsta. Antropologija kroz interpretiranje, objašnjenje i razumevanje sveta oko nas, a naučna fantastika kroz književno razmatranje istih pitanja predstavljaju dva načina odgovaranja na postavljene probleme.
This article argues for the represtationabilty of the Holocaust, or rather, it advocates the intention to represent. True representation is impossible and yet, despite the protestations of opponents ...such as Nobel prize winner Elie Wiesel, it is necessary. Due to the traumatic nature of the Holocaust, and the inability of those who have not experienced it to truly comprehend the terrors it entails, mimetic modes of representation are insufficient. As such, non-mimetic or fantastic modes have a vital role to play and this has been recognised from the earliest opportunity, as this article shall show. Non-mimetic Holocaust fiction begins in the camps themselves with Hurst Rosenthal's Mickey in Gurs (1941) depicting Mickey mouse as a prisoner of Gurs camp, later in 1944 Calvo et al. used barnyard fable imagery to depict France's role in the war and the brutal occupation. Both of these pieces act as precursor to the genre defining non-mimetic Holocaust piece: Art Spiegelman's Maus (1986;1991). All three of these texts use animal imagery and metafictionality to elaborate on the mimetic historical record in some manner. The article will draw to a conclusion by examining a fourth text, or more specifically a single character within a set of texts, Magneto from Marvel comics' The X-Men. Magneto stands as an example of fantastical fiction, in this case the superhero comic, appropriating the Holocaust to deepen and extend its own narrative, as opposed to Rosenthal, Calvo, and Spiegelman use of the fantastic to augment their Holocaust narrative. In doing so, Magneto's character offers us a different view point of the intersection between the visual fantastic and one of the most terrifying horrors on the 20th century.
U radu se prezentiraju i propituju tehnološke, kulturološke, sociološke, filozofske i psihološke značajke ljudskog staništa kroz analizu gradova kao ključnih protagonista narativa ...znanstvenofantastičnih filmova. Gradovi se u tom žanru mogu podijeliti po svojim dominantnim obilježjima na metropolise, degenerativne gradove, regresivne gradove, gradove-strojeve i virtualni prostor. Znanstvenofantastièni filmovi vrijedan su izvor razumijevanja, kritike i inspiracije suvremenoga društva i grada.
This paper explores the technological, cultural, sociological, philosophical and psychological features of a human habitat through an analysis of cities as key science fiction movie protagonists. Cities in this genre fall into several categories depending on their predominant characteristics: the metropolis, degenerative city, regressive city, city-machine and virtual space. Sci-fi movies are a valuable source of understanding, criticism and inspiration for contemporary society and the city.
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The motif of the Second Coming of Christ takes a special place in Russian fantastic fiction at the turn of the millennium. In the recent decades allusions to the Gospel topic appears in increasing ...frequency in the genre of fantasy. The aim of the given article was to analyze the peculiarities of the depiction of the subject of Advent in Russian fantastic fiction. As the basis for the research the novels of Y. Voznesenskaya, N. Perumov, V. Khlumov, S. Lukyanenko and T. Ustimenko are of particular interest. The Advent motif appears in the story line of each of the novels in question. Though, the attitude of the authors to the image of the Savior and his second coming to the world fluctuates: from a respectful expectation (Y. Voznesenskaya, T. Ustimenko, S. Lukyanenko) to the depiction of the Savior as a monster (N. Perumov). The possibility of an ambivalent interpretation of the Savior is the eloquent evidence of desacralization of this image. The profaning of the sacred is one of the tendencies of the modern popular culture. The genre of fantastic fiction, as a product of mass culture, has caught this trend quite precisely.
Članak govori o bibliografskim podatcima, protagonistu i antagonistu, naravi fantastike i mogućem povijesnom surječju, odnosno intertekstualnom izvoru; na kraju se predlažu metodičke mogućnosti. ...Središte teksta bivaju dokazi i protudokazi uporabe motiva iz enciklika
Mit brenneder Sorge
i
Divini Redemptoris
. Hipotezu o enciklikama kao prototekstu za Šopovu pripovijest nije moguće nedvojbeno dokazati, ali pretpostavku ipak podupiru brojni motivi koji su zajednički ispitivanim tekstovima.
The article discusses the short story by Nikola Šop The Story of How My Small Town Sunk, with regard to its bibliographical data, the protagonist and the antagonist, the nature of fantasy applied, the influence of the Pope's encyclicals, and the methodological, i.e. classroom possibilities. The central hypothesis claims that the 1937 encyclicals of Pope Pius XI – „Mit brennender Sorge“ and „Divini Redemptoris“ – were sources of motifs in Šop’s short story. The hypothesis however could not be definitely corroborated, although most of the evidence points to its veracity.
Rad uvodi dva nova termina književne onomastike: (1) ortografsku
klopku, odnosno pojavu u kojoj suvremeni hrvatski autori
fantastike i znanstvene fantastike fantazmonime (izmišljene onime
književnih ...djela) pišu prema engleskim ortografskim pravilima (u
nekim slučajevima rabi se mješavina engleskog i hrvatskog
pravopisa) iako za time nema potrebe; (2) onomastičku intruziju,
odnosno pojavu u kojoj hrvatski autori nadijevaju imena koja
logički ne bi mogla postojati u sekundarnome književnom svijetu.
Rad analizira nekoliko novijih hrvatskih znanstveno-fantastičnih i
fantastičnih romana s obzirom na anglo-američki utjecaj na tvorbu
antroponima, toponima i krematonima te navodi niz primjera
ortografske klopke i onomastičke intruzije uočenih u analiziranim
djelima.
Slavenski mitovi opstaju u svijesti ljudi manje kao stvarno vjerovanje u njihovo postojanje, a više kao nadnaravni element ili književni lik. Odrasli čitatelj u Poljskoj i Slovačkoj, na primjer, ...susreće slavenska nadnaravna bića u serijalima knjiga fantastične književnosti Wiedźmin Andrzeja Sapkowskog i Černokňažník Juraja Červenáka. Međutim, ne može se očekivati da književnost prikazuje praznovjerje i demone kao u legendama o vjerovanjima. Postavljanje djela Sapkowskog i Červenáka u kontekst etnografski zapisanih vjerovanja rasvjetljava različite aspekte međukulturalnih i intertekstualnih odnosa u književnom djelu. Ovaj članak pokazuje da postoji nekoliko shema književne prilagodbe slavenskih mitova – prilagodba u skladu s narodnim vjerovanjima, poricanje praznovjerja, ugrađivanje narodnog mita u svrhu stvaranja iluzije i korištenje imena demona, ali dodavanjem osobina iz drugih izvora, posebice iz masovne kulture.
Matoševa fantastična proza ima antologijsku važnost unutar korpusa hrvatske fantastične književnosti. Napisana je u dosluhu s promjenom paradigme na području fantastike krajem 19. stoljeća. Namjera ...ovog rada analizirati je reprezentaciju velegrada u Matoševim novelama Miš, Ubio! i Duševni čovjek i teorijskim osloncem na radove G. Simmela, M. Bahtina, J. Lotmana i G. Bachelarda utvrditi u kojoj je mjeri pojava neobičnih, neobjašnjivih i bizarnih događaja vezana uz urbane prostore u kojima se radnja odvija.
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