Sledeći Hesiodov postupak razdvajanja dobre od loše Eride, u tri dela ovih Teza, komunizam, naučna fantastika i utopija/utopizam podeljeni su između dve krajnosti i tako ispitani. Kod naučne ...fantastike ponovo je razmotrena uloga začudnosti i novuma; oboje se sada posmatraju kao podložni nasrtljivoj obmani. Više je razrađen treći deo o dobrom i lošem utopizmu, sa raspravom o antiutopiji, definisanoj kao ciljana i otvoreno politička upotreba zatvorenog horizonta koja treba da opovrgne, izvrgne podsmehu i učini nezamislivom kako eutopiju nekog boljeg mogućeg sveta tako i distopiju. Entropijsko zatvaranje i rani Diznilend i diznifikacija ispituju se da bi se razumela antiutopija koja nas živi. Za razliku od svih ranijih verzija utopije/utopizma, ljudi su sada potpuno i trajno unutar ove lažne utopije. Teorija utopije/utopizma, koja aksiomatski postulira da utopije nisu ostvarljive, može se spasiti ako se pretpostavi da je eutopija u antiutopiji latentno prisutna kao sačinjeno odsustvo.
Budući da je u svjetskoj književnosti od romantizma nadalje najveći dio fantastične dionice pripovjedne književnosti formiran oko ideje straha od nepoznatoga i neobjašnjivoga, ovaj je prilog usmjeren ...na manifestacije te emocije u odabranim primjerima hrvatske fantastične novele 19. stoljeća. U raspravi se problematizira i tematsko-žanrovska pripadnost kanonskih novela, i to upravo s obzirom na prisutnost motiva straha. U književnostima zapadnog kruga u 19. se stoljeću pojačano javljaju fantastični pripovjedni žanrovi kojima je motiv straha glavni narativni pokretač, a pojedini elementi fantastički intonirane književnosti s obilježjima književnoga horora prisutni su i u odabranome istraživačkom korpusu: od romantičarskih obilježja Jorgovanićeve fantastike preko premošćivanja realističke poetike i okretanja misticizmu u Gjalskijevoj novelistici do modernističke psihologizacije Matoša i Leskovara. Iako se u tradicionalnoj hrvatskoj književnoj historiografiji zadani korpus nije tumačio kroz prizmu motiva straha, njegova prisutnost otvara niz istraživačkih pitanja poput, primjerice, kako se strah manifestira u pripovjednom tekstu, kojoj pripovjednoj razini emocija straha zapravo pripada, kako motiv straha sudjeluje u proizvodnji fantastičnog i irealnog itd.
Given that from Romanticism onward the fantastic in world narrative fiction centers around the idea of fear of the unknown and inexplicable, this paper explores the manifestations of this emotion in selected Croatian fantastic stories from the 19th century. Since the concept of genre is a variable category dependent on a number of literary and non-literary factors, this paper also discusses topic and genre qualification, especially considering the presence of motifs related to the emotion of fear. In the Western literature of the 19th century, the fantastic narrative genre with the motive of fear as the main narrative core is quite frequent. Some elements of fantastically intoned literature with features of literary horror are also present in the research corpus: from the romantic features of Jorgovanić’s fantasy, the bridging of realistic poetics and the turn to mysticism in Gjalski’s stories to the modernist psychologization of Matoš and Leskovar. Although traditional Croatian literary historiography does not interpret its basic corpus through the prism of the motif of fear, its presence leads to a number of research questions: how does fear manifest itself in the narrative text?, which narrative level does the emotion of fear belong to?, how does the motif of fear participate in the production of the fantastic and irreal? etc.
In the euphoria of the success of Poor Folk Dostoevsky wrote an inventive work — a fantastical novel with an absurd plot, in which two completely similar characters act: two Yakov, two Petroviches, ...two Golyadkins, two titular councilors serving in the same department. Their similarity is not explained in any way. According to the author, this is “a completely inexplicable incident,” however, critics keep trying to explain the appearance of the double. The range of interpretations is extensive — from the rationalistic and empirical rejection of fantastika to numerous psychopathological, ethical, social and other concepts of it. They have the same status: they are all nontextual readings of the work. Critics do not read Dostoevsky, rather, they compose their own version of The Double. It all started with Belinsky, who made factual errors in the analysis of The Double. Dobrolyubov frankly admitted that his explanation of the double was formed “while thumbing through” the story. All subsequent interpretations are variations of their explanations of fantastika. Dostoevsky was sensitive to the misunderstanding of readers and critics. In 1862 and 1864, he created drafts with the aim of revising The Double. Unable to carry out this plan, in September 1866 Dostoevsky cut down the magazine’s editorial staff and made other changes that polemically opposed the interpretations of Belinsky and Dobrolyubov. The analysis of the two editions of The Double and the materials in the 1862-1864 notebooks (Russian State Library. F. 93.I.2.6 and 93.I.2.7) demonstrate that Dostoevsky did not think of The Double as a ghost, hallucination, or the delirium of a madman, but, rather, considered him a real character in the story. Denying the similarity and protesting against the immorality of the younger Golyadkin, the elder proclaims: man is unique. This idea was a development of the anthropological principle that Dostoevsky discovered in Poor Folk and later vividly expressed in Notes from the Underground.
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.
Sledeći putanje koje je u domaćoj antropologiji već utabala poddisciplina antropologija filma, a pre svega antropološka „sekcija“ za proučavanje naučne fantastike, analitički fokus ovog rada čini ...film Ljudi i kokoške (Men and Chicken). Nasuprot kritičarima koji su u njemu videli „nečitljivu, morbidnu i ciničnu postmodernu grozotu“, osnovna teza rada jeste da nam film Ljudi i kokoške pomaže ne samo da preispitamo javne predstave o nauci već i da osvetlimo nade, strahove i konceptualne dileme kojima zamajac daje razvoj savremenih biotehnologija. On nam pomaže da, na jednom proizvodu popularne kulture bliskom iskustvu najšire publike, analiziramo način na koji filmski imaginarijum obrađuje „paradoks koji leži u jezgru“ zapadne misli – istovremenu tvrdnju da su ljudi životinje i da je animalnost sušta suprotnost onome što držimo za ljudsko. Paradoks o kojem je reč ne mora biti intelektualna poslastica za dokoličarski um, niti prilika za demonstraciju čudotvorne moći analitičkog postupka levistrosovskog tipa, već vrlo relevantno pitanje u aktuelnim institucionalnim i javnim raspravama povodom stvaranja hibridnih embriona/vrsta u čijem su središtu nastojanja da se ustanovi biološki, moralni i kulturni status ljudi, ne-ljudi i hibrida.
Madness in life, philosophy, and art are different phenomena. In medicine, a madman is an insane person and a patient, in philosophy he is a sage, in literature - a poet. Doctors treat the patient, ...philosophers and poets admire the freedom of his thought and creativity. Problems arise when doctors turn into literary critics, and critics diagnose literary heroes. An absurd situation emerges when doctors diagnose those who are inherently unable to express a complaint, answer questions, undergo tests or pass a clinical examination. The article offers a critical analysis of the topic of insanity in the St. Petersburg-themed short novels by Pushkin, Gogol, and Dostoevsky, and offers a response to the question of which parts of their works belong to the poetic sphere, and which - to psychiatry. Pushkin and Gogol contributed to the poetic development of the theme of insanity, Dostoevsky revealed insanity as a mental illness where “higher meaning” manifests itself. All of these authors clearly defined the boundaries of troubled and healthy consciousness. Dostoevsky completed the transition from the poetic to the realistic interpretation of madness in Russian literature. A variety of concepts of insanity has been recognized in art, and there has been a creative competition between individual interpretations of this subject.
This article examines the ways in which Young Adult dystopian film Divergent (2014) successfully repurposes dystopia for a young demographic, making dystopia an aesthetically appealing space for ...heroic adventure. The film recombines Young Adult literary tropes with film conventions including those of science fiction. Divergent and other Young Adult dystopian films modify the potential for social critique associated with canonic dystopian fiction. The article’s critical framework includes theories of dystopia and of Young Adult dystopian literature, the Freudian uncanny, studies of the post-apocalyptic film city and new media theory. In Divergent, the dystopian division of society into factions is made enjoyable through production design, particularly in ‘Dauntless’, the faction joined by heroine Tris. This extends to transmedia marketing. The book’s violence is reduced to increase audience engagement, while lack of contextual detail precludes a critical dystopia. In Divergent, the spaces and ideologies of the post-apocalyptic film city are reframed as youth culture. Chicago is gamified, connoting an adventure playground. The space of the Dauntless ‘Pit’ offers symbolic rebirth, community and romance, yet its appeal is uncanny, as with communal spaces in The Host (2013) and The Maze Runner (2014). Divergent’s mirror simulation foregrounds spectacle but other simulations construct immediacy, appearing dream-like not immersive. Like the visions in Young Adult dystopian adaptations How I Live Now (2013) and Ender’s Game (2013), simulations convey individual awareness and supernatural communication. The film combines pleasurable classification and a divergence motif with its heroine’s development, revising dystopian cinematic space. Divergent represents a new form of dystopian cinema.
The paper presents the hitherto little-known Croatian Jewish writer Hinko Gottlieb (Đurđevac, 1886 – Tel Aviv, 1948). The discussion considers Gottlieb’s multiple affiliation with various national ...literary corpora and a specific status of a very modest Jewish literary presence in Croatian literature in order to enrich the understanding of his oeuvre. In addition to an overview of what is currently known about his literary work, with an emphasis on his literary production in the 1930s–1940s, special attention is paid to the unpublished play Sanduk iz Perzije (The Chest from Persia), written in 1943 during the author’s internment in the Kraljevica concentration camp, and the novel Ključ od velikih vrata (The Key to the Great Gate), written between 1942–1946, and published for the first time in Croatian in 2021. The play is analysed in the context of the Purim-shpil while the discussion of the novel is based on its manifold genres: prison literature, the Holocaust novel, humorous anti-war fiction similar to Jaroslav Hašek’s The Good Soldier Švejk, and finally, and most importantly, science fiction and the political utopias associated with it.
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