This article will concentrate on three major topics. The first one will be connected with the idea of globalization and universalism in relation to national cultural and literary canons. The second ...one will discuss the possibility of how the national language and literature can stay authentic and universal, that how it can remain simultaneously appreciated as a work of difference and an artefact of universal value. This calls for the introduction of the main topic which is the realm of translation, especially translation understood as a trans-creation, that is the re-creation of one literary world within (an)other cultural discourse, being it in a different language, or even uttered in a new lingua franca, which today is English. That means that the other nation can also be narrated in English, but in an English used by others for their own purposes, sometimes only commercial but other times purposely chosen as the tool of contra-hegemonic statement(s), having their own purposes and ways. How we can trans-create that in reading is of the utmost importance for interpretation. At the end of this essay we will see how that reflects on both the otherness of authentic culture (in this case study Korean) as well as English speaking discourse and English as an authentic language and the tool of trans-creating and disseminating the idea of literature as a global entity (or/and system).
This article discusses three recent books that deal with the Croatian literary hi/story. In the first part of the work we discuss the issues of the contemporary post-structural and deconstructionist ...view of writing history. The argument is based on Alun Munslow’s thesis that it is not possible to write hi/story outside the narrative genre.
The starting point of discussion is that hi/story (of literature) is only one of possible modal practices of narration/narrative. This means that history can only be read as one of many narratives while simultaneously it reflects the narrative that is produced by its nature/mode. That in many ways changes the way in which today, in poststructuralist and postmodern perspective, one can (and will) interpret the tradition of literary history as a “practical activity” (interpretation of meaning and/or
philological discipline) but also as a story (construction). The tradition of Croatian literary history is very much dependent on the narrative(s) of the nation, the idea of its continuity in time (“diachronic development”) and on viewing literature as the narration of
the nation, or as a major way of preserving national memory. In most books on the 19th and the 20th century national literary history this was the prevailing
viewpoint of scholars who were constructing the Croatian cannon and national narrative as “agreed upon” hi/story “of the nation” (and its literary memory/canon). The three books discussed in this article, each in its particular way (methodologically and by its idea of how to interpret texts), change, or at least contribute to the change
of this traditionalist storytelling that has become hi/story (of national literature). This article simultaneously challenges the tradition of (literary) history writing and interprets various aspects of reading hi/story anew in the works by three contemporary authors. It puts in perspective three different types of “politics of small differences” that form the basis of the original contributions. Brešić’s
study into the
Croatian 19th century literature shifted from writing the hi/story of writers and national narratives towards the modes of presentation and study of genres. Bagić’s study of contemporary literature for the first time treats traditional literary genres and new media, as well as popular culture, equally, thus allowing new insight into the possibilities of studying both fiction and its discursive frames. The third book
discussed here introduces the discussion of the role that contemporary questioning of humanities as a discipline has in both post-structural environment and interpretative community of scholars. In conclusion, the
article discusses the possibilities of reading (literary) history anew in the hegemonic environment of school system, academia and cultural paradigm of the “nation”.
Ovaj članak bavi se problemima vezanim uz modalitete dekonstrukcijskih praksi kojima se destabiliziraju tradicionalni modeli povijesti književnosti. Polazeći od koncepcije Aluna Munslowa prema kojem se povijest „ne može ne ispričati”, odnosno činjenice da je ona samo jedna od različitih modaliteta pri/ povijesne prakse, dolazimo u situaciju čitanja književne povijesti kao narativnog oblika. U tom procesu uspostavlja se modificirana pozicija odnošenja prema
tradiciji i otvara se pitanje vezano uz način na koji iz današnje, poststrukturalističke i postmoderne perspektive trebamo/možemo tumačiti tradiciju struke (i priče). Polazi se od načina na koji se iz teorijski osviještene perspektive određuje mjesto književne povijesti danas. Nakon
toga bavim(o) se problemima književne pri/povijesti kao žanra i kao discipline a potom pitanjima s kojima se suočava filologija kao disciplina te komparatistika i humanistika općenito. U središnjem dijelu
rada predstavljaju se i propituju tri modela/primjera iskazivanja književne pri/povijesti i to kroz čitanje/iščitavanje triju knjiga. To su: Hrvatska književnost 19. stoljeća (2015) autora Vinka Brešića koja problemima književne povijesti prilazi iz perspektive problemskog strukturalističkog pristupa uz jasno naglašenu svijest o privremenosti vlastita jezika. Slijedi Uvod u suvremenu hrvatsku književnost (2016) autora Krešimira Bagića. To je knjiga koja uvodi multimedijski okvir kao
prostorno-diskurzivnu orijentaciju u iskazivanju i uokvirivanju građe, inzistirajući na isprepletenosti književne i šire zamišljene (popularno)kulturalne, političke i akademske paradigme. I konačno, tu je
knjiga pod naslovom Odbačeni predmet. Između filologije i izvedbe(2017)
autora Lea Rafolta koja progovara o „odbacivanju” filologije (i humanistike) kao nepragmatičnih disciplina te o mogućnostima da se kroz izvedbu (performativnu praksu) tumačenja dođe do (ponovnog) pronalaženja
relevantnog govora o „predmetu” naše opsesije, odnosno pitanju značenja
i prava na njegovo ostvarivanje.
The article discusses the role of subculture in Croatia and wider South Slavic context during and after the transitional period from the hegemony of Yugoslav communist system to the national state ...and its new narratives. The introduction discusses the modalities of memory loss in regard to the Yugoslav system of values. It focuses on the situation in popular culture and the new media, arguing that the process of memory loss has been orchestrated by the new national hegemony in both the media and politics and in the subcultural environment of marginal groups. The emphasis is put on the discursive tactics that have contributed to this process in the public sphere. The second part of the article concentrates on the relationship between the private and the public spheres and pays special attention to the relation between spontaneous subcultural practices and orchestrated mass-cultural outlets that very often construct the sphere of popular cultural needs. It is argued that the modalities of re-constructing and re-directing the narrative as an ethical (ethnic and political) issue remain an important topic not only for a better understanding of popular culture’s hegemonic order but also for the modalities of survival of the narrative as a literary autonomous field.
The article discusses the role of subculture in Croatia and wider South Slavic context during and after the transitional period from the hegemony of Yugoslav communist system to the national state ...and its new narratives. The introduction discusses the modalities of memory loss in regard to the Yugoslav system of values. It focuses on the situation in popular culture and the new media, arguing that the process of memory loss has been orchestrated by the new national hegemony in both the media and politics and in the subcultural environment of marginal groups. The emphasis is put on the discursive tactics that have contributed to this process in the public sphere. The second part of the article concentrates on the relationship between the private and the public spheres and pays special attention to the relation between spontaneous subcultural practices and orchestrated mass-cultural outlets that very often construct the sphere of popular cultural needs. It is argued that the modalities of re-constructing and re-directing the narrative as an ethical (ethnic and political) issue remain an important topic not only for a better understanding of popular culture’s hegemonic order but also for the modalities of survival of the narrative as a literary autonomous field.
This article deals with the constructions of „Matoš” in Croatian histories of literature. Central
for the study is Alum Munslow’s thesis that history cannot be „non-narrative”. In that respect
the ...relationship between hi/story and narrative genre is studied on examples of how the „character” of Antun Gustav Matoš, one of the most famous Croatian writers from the beginning of
twentieth century, is both perceived and constructed in historical narrative and in philological
context that is discursively circled by the narrative.
This article provides and overview of contemporary Korean novels, films and tv series in a context of producing the national literature as world-literature. It discusses the problems of centre and ...periphery, border-spaces and their inclusion and exclusion from the literature as world-system. Korean prose literature is discussed in its national context, but also in the context of transcreation in other languages. In that respect the topics of translation and transcreation are discussed providing some examples, predominantly from postmodern Korean, and also from Croatian literature. The central question is the one already posed by Damrosch (2009): how to „learn” to read the works that have been trans-created in other languages and discursive environments? In posing that question, the issues of Moretti’s concepts of distant and close reading are considered as a possible methodological standpoint for cross-cultural interpretative process. The „case” of Korean literature is discussed in three parts: literature before 1980’s; the major writers of 1990’s and 2000’s (Hwang Sok-yong and Kim Young-ha) and the female „wave” during 2010’s, starting with Krys Lee and Euny Hong and concluding with Han Kang and Kim Ju-young. In conclusion the complex relationship between Hullya (the Korean Wave), with K-pop, tv series and contemporary film industry in its centre, is compared with current trends in Korean literature. That especially goes for literature that has in mind possible international readership. The focus is on how these genres situate themselves for possible reading/interpreting in a displaced environment of other space and hegemonic order where knowledge about discursive tactics of artefacts narrated (being that film, novel or tv series) is limited or, sometimes, deceiving. Finally, possible answers in articles that follow in this thematic block are suggested.
On Such a Full Sea is a fifth novel by the Korean American author Chang-rae Lee. In the context of this article the questions of speculative realism and speculative fiction are examined, as well as ...the idea of dystopian novel. In the introductory part, the questions of genre and its examples in various literary corpuses is placed in a comparative context. Then the focus shifts on how Lee’s novel both follows the pattern of the genre and also resists it in two ways: by employing plural position of narration (we instead of I) and by focusing on anthropological rather than scientific aspect of “speculative fabulation”. In the first part of the analysis Lee is located within the corpus of American and Korean literatures, as well as in the body of speculative fiction that is driven by ethical issues embedded in contemporary “world problems” concerning refugees, environmental issues and class structure of western societies and the rest of the world. In the central part of the article a question of C-illness, the fictional epidemic, is presented by way of close reading of issues that Lee discusses on ethical and structural level. In conclusion the question of dystopia is problematized in other types of novels, rather than only in SF. The examples are so called “emigrant prose” and novels concerned with identity crises in contemporary postmodern (and perhaps post-humanist) society. Lee’s novels are read in the context of works by Margaret Atwood, Kazuo Ishiguro, Haruki Murakami and others. There is also a brief comparison with modern and contemporary Croatian dystopian prose, with a sole purpose to provide an appropriate context for possible translation. The conclusion is provided by a short discussion about the way the epidemic is reflected in a wider society.
On Such a Full Sea is a fifth novel by the Korean American author Chang-rae Lee. In the context of this article the questions of speculative realism and speculative fiction are examined, as well as ...the idea of dystopian novel. In the introductory part, the questions of genre and its examples in various literary corpuses is placed in a comparative context. Then the focus shifts on how Lee’s novel both follows the pattern of the genre and also resists it in two ways: by employing plural position of narration (we instead of I) and by focusing on anthropological rather than scientific aspect of “speculative fabulation”. In the first part of the analysis Lee is located within the corpus of American and Korean literatures, as well as in the body of speculative fiction that is driven by ethical issues embedded in contemporary “world problems” concerning refugees, environmental issues and class structure of western societies and the rest of the world. In the central part of the article a question of C-illness, the fictional epidemic, is presented by way of close reading of issues that Lee discusses on ethical and structural level. In conclusion the question of dystopia is problematized in other types of novels, rather than only in SF. The examples are so called “emigrant prose” and novels concerned with identity crises in contemporary postmodern (and perhaps post-humanist) society. Lee’s novels are read in the context of works by Margaret Atwood, Kazuo Ishiguro, Haruki Murakami and others. There is also a brief comparison with modern and contemporary Croatian dystopian prose, with a sole purpose to provide an appropriate context for possible translation. The conclusion is provided by a short discussion about the way the epidemic is reflected in a wider society.
U ovom članku naglasak je na odnosima i kontroverzama koje se javljaju u raspravi o odnosima povijesti i književnosti. Problematiziramo pristup s pozicije teorije književnosti i zato je naglasak na ...pitanju povijesti kao discipline, kako se na nju gleda s pozicije teorije. Potom se postavlja pitanje historicizma i mjesta priče u povijesnom prikazu, odnosno uporabe narativa u povijesnim pristupima. O historicizmu se raspravlja iz dijakronijske perspektive, odnosno predstavljanjem njemačkog historicizma. Pristupi iz perspektive teorije otkrivaju nam znatna postignuća na tom području, zahvaljujući radu novih historicista koji obično dolaze iz filoloških disciplina, odnosno s područja filološki utemeljene interpretacije. U raspravi se uvijek misli na način na koji je problem povijesnosti uokviren i definiran u odnosu na problematiziranje područja povijesti književnosti. Najprije ćemo predstaviti problem povijesti kao narativnog žanra, a zatim slijedi rasprava o tom žanru kao samostalnoj epistemologiji. U završnom dijelu članka gore navedeni problemi i otvorena pitanja smješteni su unutar episteme aktualnog hegemonističkog poretka u humanističkim znanostima. Na samom kraju članka nudimo moguće uvođenje
kontekstualnog pristupa u različite modele povijesti književnosti koji predstavlja polazište za komparativne mogućnosti u tom području i sagledavanje komparativne povijesti u drugačijem svjetlu od onoga što je bio slučaj s vrlo strogim uvažavanje “disciplinarnih granica” koje su postavili tradicionalni filolozi u jugoistočnoj Europi.
U ovom članku naglasak je na odnosima i kontroverzama koje se javljaju u raspravi o
odnosima povijesti i književnosti. Problematiziramo pristup s pozicije teorije književnosti
i zato je naglasak na ...pitanju povijesti kao discipline, kako se na nju gleda s pozicije
teorije. Potom se postavlja pitanje historicizma i mjesta priče u povijesnom prikazu,
odnosno uporabe narativa u povijesnim pristupima. O historicizmu se raspravlja iz
dijakronijske perspektive, odnosno predstavljanjem njemačkog historicizma. Pristupi
iz perspektive teorije otkrivaju nam znatna postignuća na tom području, zahvaljujući
radu novih historicista koji obično dolaze iz filoloških disciplina, odnosno s područja
filološki utemeljene interpretacije. U raspravi se uvijek misli na način na koji je problem
povijesnosti uokviren i definiran u odnosu na problematiziranje područja povijesti
književnosti. Najprije ćemo predstaviti problem povijesti kao narativnog žanra, a
zatim slijedi rasprava o tom žanru kao samostalnoj epistemologiji. U završnom dijelu
članka gore navedeni problemi i otvorena pitanja smješteni su unutar episteme aktualnog
hegemonističkog poretka u humanističkim znanostima. Na samom kraju članka
nudimo moguće uvođenje kontekstualnog pristupa u različite modele povijesti književnosti
koji predstavlja polazište za komparativne mogućnosti u tom području i sagledavanje
komparativne povijesti u drugačijem svjetlu od onoga što je bio slučaj s vrlo
strogim uvažavanje “disciplinarnih granica” koje su postavili tradicionalni filolozi u
jugoistočnoj Europi.
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