Rad donosi osvrt na pitanja i probleme koji proizlaze iz široke upotrebe pojma "žensko pismo" i recepcije francuske feminističke teorije u domaćem književnoznanstvenom prostoru od 1980-ih naovamo. ...Pritom nastojimo odgovoriti na pitanje je li najšira primjena pojma povezana s koracima u teorijskoj recepciji te može li teorijski rad na feminističkom kategorijalnom aparatu postati svojevrsnim korektivom postojećeg stanja. Oslanjajući se na dosadašnja istraživanja tog problema u recepciji Irene Vrkljan, razmatramo nesuglasja o pojmu ženskog pisma koja su se očitovala već pri njegovu uvođenju u domaću književnu znanost 1980-ih te metodološki i teorijski osvješteniji zaokret ka ženskoj književnosti u postjugoslavenskom kontekstu. Na primjerima recepcije Irene Vrkljan i Dubravke Ugrešić pokazujemo kako je dominantna upotreba ženskog pisma potisnula važne elemente njihova opusa – napose modernističke i avangardne utjecaje u njihovim poetikama – uz detaljniji osvrt na "Brnjicu za vještice" (2021) Dubravke Ugrešić kao relevantnu dijagnozu suvremenog književnog polja. Naposljetku, u široj regionalnoj recepciji francuske teorije nalazimo vrijedne poticaje povratku teorijskoj raspravi o temeljnom feminističkom pojmovlju.
Rukopis na granici Dakić, Mirela
FLUMINENSIA,
01/2021, Letnik:
33, Številka:
1
Journal Article, Paper
Recenzirano
Odprti dostop
Oslanjajući se na Derridaove uvide o odnosu fikcionalnosti i referencijalnosti te relaciji književnosti i politike u nizu tekstova koje okuplja žanrovskom oznakom povratka iz SSSR-a, njihovu ...artikulaciju razmatramo u čitanjima jednog od kanonskih djela toga žanra u hrvatskoj književnosti – Krležina Izleta u Rusiju. Čitanje polazi od fragmenta dijaloga između putnika i carinika – u putopisnoj književnosti tradicionalnih suparnika – čija nas analiza kroz prizmu Derridaovih postavki o književnosti usmjerava na problematizaciju granica i zakona koji upravljaju čitanjem književnog teksta, a stoga i dosadašnjom recepcijom Krležina djela. S jedne strane deklarativni iskazi o književnosti i umjetnosti, a s druge žanrovska kontaminacija teksta, proturječje između autorske funkcije i intervencije u jedinstvenost i jedinstvo djela te niz pripovjednih i stilskih postupaka ukazuju na konstitutivnu nemogućnost da se političke implikacije Izleta u Rusiju svedu na politiku pisca te biografske i historijske okolnosti njegova nastanka. Izigravajući zakone koji upravljaju čitanjem, Izlet u Rusiju postavlja čitatelja pred vlastiti zakon kontaminacije i nečitljivosti, krijumčareći značenje onkraj interpretativnih granica.
Relying on Derrida’s insight into the relation between fiction and referentiality and literature and politics in the works he describes as returns from the USSR, we discuss their articulation in the reception of the classic return in Croatian literature – Krleža’s Journey to Russia. We start with the fragment of a dialogue between the traveller and the customs officer – the travelogue’s traditional rivals – the analysis of which underlines the problematization of limits and laws which govern the reading process. Statements about literature and art, the contamination of the genre, the contradiction between the authorial function and the intervention in the uniqueness and the unity of the literary work, and a series of narrative and stylistic techniques indicate the constitutive impossibility of reducing the political implications of Journey to Russia for the writer’s politics, or the biographical and historical circumstances of its publication. Playing the laws which govern its reading, Journey to Russia puts the reader in front of its law of contamination and unreadability, smuggling meaning beyond the limits of interpretation.
The essay starts with Freud’s Fragment of an Analysis of a Case of Hysteria, relating its discordant lines of argumentation with the psychoanalytic concept of (bi)sexuality, as it was developed from ...Studies on Hysteria to Three Essays on the Theory of Sexuality, the latter of which was published in same year as the “Dora case”. We consider the aspects in which Freud’s contradictory analysis of the case becomes central to the feminist debate on hysteria in Hélène Cixous’s and Catherine Clément’s classic The Newly Born Woman. The analysis points to the constitutive relation of the authors’ disagreement on hysteria and different conceptions of literature and politics presented in their study and the subsequent polemical discussions. We further approach the dissent about the political and methodological framework of feminist criticism in the Anglo-American reception of the French authors, wherein gynocritics Elaine Showalter and Sandra M. Gilbert renounce the question of hysteria. Alternatively, deconstructive critical reading by Peggy Kamuf is grounded in Derrida’s approach to literature. Kamuf traces the main misunderstandings in Cixous’s reception, by interpreting her oeuvre as emblematic of so-called semi-theory and semi-politics, trying to deconstruct oppositions between a theoretical, political, and poetical text. Through the lens of semi-theory, the relation between Cixous’s semi-concept of a woman, as a reference without a referent, and the psychoanalytic understanding of bisexuality and hysteria, has far-reaching consequences on the reading of psychoanalytic text as literary and hysterical, as it compulsively repeats the very fragmentary pattern it tries to interpret.
Studying the share of women in the historical avant-garde movements, Susan Rubin Suleiman (1990) supported Marguerite Duras's assessment of the avant-garde women writers as being “doubly intolerable” ...– since they do not correspond to the usual revolutionary point of view or that of women. Suleiman introduced the concept of
the double margin
to refer to the problem of critical and historical reception of women’s avant-garde writing. Since the procedures of the double marginalisation of women’s avant-garde poetics can be observed in different cultural contexts and literary fields, in this paper we will analyse the critical and historical reception of women writers on the Croatian and Yugoslav literary scene who contributed to the literary magazine
Krugovi
(
Circles
, 1952–1958) in the 1950s. Although this generation of writers interprets the aspiration of poetry towards a “universal language” (A. Rimbaud) following the avant-garde usages of grammar, figures of speech, and a depoeticised vocabulary, the traditional readings of women's poetics are often based on the expression of women’s experience, the mind and body split, and the biographical interpretation. On the other hand, the oeuvres of women from the
Krugovi
generation call for a revaluation of the relation between their poetic strategies and the possible gender politics of their poetry. Therefore, we will demonstrate the possibilities of this revaluation by turning to poetical choices, treatment of the lyric subject and the genre in the texts of Vesna Krmpotić, Vesna Parun, and Irena Vrkljan.
Istražujući udio žena u historijskim avangardnim pokretima, Susan Rubin Suleiman (1990) slijedila je procjenu Marguerite Duras prema kojoj su avangardne spisateljice u književnom polju “dvostruko nepodnošljive” – s obzirom na to da ne odgovaraju ni uobičajenoj revolucionarnoj ni ženskog perspektivi. Suleiman pritom uvodi koncept dvostruke margine kako bi uputila na probleme kritičke i povijesne recepcije avangardne ženske produkcije. Budući da procedure dvostruke marginalizacije možemo pratiti u različitim kulturnim kontekstima i književnim poljima, u radu analiziramo kritičku i povijesnu recepciju pjesnikinja čija je pojava na hrvatskoj i jugoslavenskoj književnoj sceni povezana s časopisom Krugovi (1952–1958). Iako je krugovaška generacija pronalazila uzor u avangardi, tradicionalna čitanja njezinih ženskih poetika nerijetko su se temeljila na ideji o izražavanju ženskog iskustva, rascjepu uma i tijela te biografskoj interpretaciji. S druge strane, ženski opusi krugovaške generacije zahtijevaju novo čitanje veze između njihovih specifičnih pjesničkih postupaka i rodne politike njihove poezije. Potencijalno polazište ovakva čitanja prepoznajemo prije svega u poetskim izborima, tretmanu lirskog subjekta i žanra u tekstovima Vesne Krmpotić, Vesne Parun i Irene Vrkljan.
The book of essays Smrtni grijesi feminizma (The Deadly Sins of Feminism), written by Slavenka Drakulić, and Irena Vrkljan’s novel Svila, škare (The Silk, the Shears), both published in 1984, became ...the samples of feminist activism and the poetics of l’écriture féminine in Croatian literature. Considering their generic aspects and their narrative strategies focused on revealing the conflict between public/historical/political and personal/everyday/trivial, in our paper we will discuss Vrkljan’s novel as outstanding example of the emancipatory changes in the cultural field of the 1980’s. “Trivial as political” in Slavenka Drakulić’s writing, articulated through Irena Vrkljan’s autobiographical narrative, incites the emancipatory power of l’écriture féminine that simultaneously reflects the Other in itself, produces its own difference and writes without inscribing itself. This type of women’s writing, as previously defined by Hélène Cixous, is presented in Irena Vrkljan’s text as writing its own life that is “always in-between” and that undermines declared democratic values as much as the politics of literature, as understood by Jacques Rancière. Revealing discordances between poetic and social hierarchies, women’s writing makes changes in the partition of the visible and the sayable, in the intertwining of being and writing, body and words.
The paper indicates general problems in the reception of écriture féminine (feminine writing, also often referred to as ”women’s writing”) in the Croatian science of literature during the period ...between 1983, when the thematic volume of the journal Republika was published, and the present day. It critically addresses its use in the reception of Irena Vrkljan’s autobiographic fiction, which is regarded as its paradigm in the contemporary Croatian literature. The analysis of the editions of the author’s works, literary criticism and histories of modern Croatian literature shows that the attribution of the term feminine writing to Irena Vrkljan’s fiction misinterpreted the concept while leaving the author’s earlier poetry aside. Working from the theoretical implications of écriture féminine and the author’s oeuvre, the paper considers the relation between feminine writing and the continuity between the author’s fiction and poetry as the basis of a critical approach to the main problems of former reception, as well as starting points for new interpretations of the author’s works.
The essay reconstructs the discussion about Sigmund Freud’s famous text The Uncanny (Das Unheimliche, 1919), highlighting different conceptualizations of the relation between the literary and the ...psychoanalytic text. Starting from the privileged connection of literature and the uncanny, related with Freud’s critical turn from the esthetics based on the pleasure principle, divergent interpretative positions emerge in the following discussion. After considering the established critique of Freud’s reading of E. T. A. Hoffmann’s short story “The Sandman”, which revalues the uncanny and the castration from the perspective of the literary text, elaborated in Samuel Weber’s and Sarah Kofman’s approaches, we discuss Hélène Cixous’s former insights into the uncanniness of Freud’s text, compatible with Jacques Derrida’s analysis of his diabolical scene of writing. In the midst of its crisis of phenomenality, the uncanny literary uncertainty upsets what used to be the familiar psychoanalytic text.
Polazeći od teorijskih i istraživačkih okvira feminističke lingvistike te dosadašnjih kritika reprezentacije žena u rječnicima hrvatskoga jezika, rad na temelju usporedne analize leksikografskih ...jedinica žena i muškarac prikazuje aspekte njihove kvantitativne, kvalitativne i rodne asimetrije. Uzimajući u obzir analitičku distinkciju između leksikografske razine i razine jezične upotrebe, rad uspostavlja dijalog između dosadašnjih analiza definicija dvaju leksema i širega konteksta upućivanja na žene i muškarce u rječnicima i jezičnoj upotrebi te ukazuje na istovjetne mete stereotipizacije i seksizma na objema razinama. Povezivanje leksikološke analize i feminističke kritike u razmatranju dviju leksikografskih jedinica upućuje na međusobnu uvjetovanost njihove kvalitativne i rodne asimetrije te predstavlja temelj kritičkome pristupu čija je pretpostavka da bi rječnici, umjesto mehanizma perpetuiranja stereotipa, mogli postati poprištem njihova osvještavanja i propitivanja.
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