The paper offers an imagological analysis of Thomas’s debut novel The Hate U Give (2017) with the aim of showing that the cultural image of the Black race is a firmly rooted construct in the United States. The analysis is based on the ideas proposed by Benedict Anderson in his Imagined Communities: Reflections on the Origin and Spread of Nationalism (2006) and suggests that despite the well-established theoretical ideas of American-ness and the greatness of the American nation, there is no single nation to speak of in the US society. Anderson suggests that the society has preconceived beliefs on members of certain (racial, ethnic) groups, which the novel clearly depicts through the novel’s protagonist, Starr Carter, who engages in code switching in order to get a better education and, thus, a chance for success outside of the black ghetto. The pre-established notions and stereotypes, often promoted via populist discourse of the dominant group, prevent unification of people into a nation and at the same time give rise to nationalism, racism, and hatred.
{"title":"The Image of a Nation in Angie Thomas’s The Hate U Give (2017)","authors":"Ljubica Matek, Jasna Poljak Rehlicki","doi":"10.29162/anafora.v9i2.1","DOIUrl":"https://doi.org/10.29162/anafora.v9i2.1","url":null,"abstract":"The paper offers an imagological analysis of Thomas’s debut novel The Hate U Give (2017) with the aim of showing that the cultural image of the Black race is a firmly rooted construct in the United States. The analysis is based on the ideas proposed by Benedict Anderson in his Imagined Communities: Reflections on the Origin and Spread of Nationalism (2006) and suggests that despite the well-established theoretical ideas of American-ness and the greatness of the American nation, there is no single nation to speak of in the US society. Anderson suggests that the society has preconceived beliefs on members of certain (racial, ethnic) groups, which the novel clearly depicts through the novel’s protagonist, Starr Carter, who engages in code switching in order to get a better education and, thus, a chance for success outside of the black ghetto. The pre-established notions and stereotypes, often promoted via populist discourse of the dominant group, prevent unification of people into a nation and at the same time give rise to nationalism, racism, and hatred.","PeriodicalId":40415,"journal":{"name":"Anafora","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69711092","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-01DOI: 10.29162/anafora.v9i2.11
Darija Skokić, Sanjin Sorel
U radu se analiziraju tragovi estetike videospota u poeziji Branka Čegeca kao istaknutog autora hrvatskog pjesništva iskustva jezika, kako je naraštaj ranije nazvao Zvonimir Mrkonjić i metajezičnog pjesništva, kako je Čegeca s pjesnicima spomenutih koncepata iskustva jezika skupno nazvao Goran Rem. Cilj je uputiti na elemente književnog kontakta s videospotovskim jezikom, odnosno pristupiti poeziji koja se konkretno i konkretistički, svojim jezičnim materijalom smješta u estetike video spota, kakvi su glavni rani projekti umjetnosti video spota Nam June Paika i Laurie Andersson. Upravo naziv „pjesništvo iskustva jezika“ signalizira kako se radi o pjesništvu čije je glavno obilježje jezična kodiranost odnosno metajezičnost te se rad bavi i sviješću o primanju tragova druge umjetnosti, prije svega videospotovskih. Polazi se od definicija intermedijalnosti, medija, postmodernizma i videospota. Analize predložaka u radu izdvajaju audiospotovske elemente vizualnosti i auditivnosti te donose nove interpretacije Čegecovih poetskih tekstova.
{"title":"Estetika videospota u poeziji Branka Čegeca","authors":"Darija Skokić, Sanjin Sorel","doi":"10.29162/anafora.v9i2.11","DOIUrl":"https://doi.org/10.29162/anafora.v9i2.11","url":null,"abstract":"U radu se analiziraju tragovi estetike videospota u poeziji Branka Čegeca kao istaknutog autora hrvatskog pjesništva iskustva jezika, kako je naraštaj ranije nazvao Zvonimir Mrkonjić i metajezičnog pjesništva, kako je Čegeca s pjesnicima spomenutih koncepata iskustva jezika skupno nazvao Goran Rem. Cilj je uputiti na elemente književnog kontakta s videospotovskim jezikom, odnosno pristupiti poeziji koja se konkretno i konkretistički, svojim jezičnim materijalom smješta u estetike video spota, kakvi su glavni rani projekti umjetnosti video spota Nam June Paika i Laurie Andersson. Upravo naziv „pjesništvo iskustva jezika“ signalizira kako se radi o pjesništvu čije je glavno obilježje jezična kodiranost odnosno metajezičnost te se rad bavi i sviješću o primanju tragova druge umjetnosti, prije svega videospotovskih. Polazi se od definicija intermedijalnosti, medija, postmodernizma i videospota. Analize predložaka u radu izdvajaju audiospotovske elemente vizualnosti i auditivnosti te donose nove interpretacije Čegecovih poetskih tekstova.","PeriodicalId":40415,"journal":{"name":"Anafora","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69711200","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
U radu se razmatra mogućnost novog, interdisciplinarnog, neopoststrukturalističkog tumačenja romana Oriane Fallaci Pismo nerođenom djetetu. Polazi se od spoznaja poststrukturalističke teorije teksta te psihoanalitičkog feminizma, koji se proširuju rezultatima istraživanja iz područja stilistike i metrike. Na temelju kritičkoga čitanja teorijske literature te lingvističkom analizom odabranih ulomaka romana, opisat će se prisutnost specifične, metaforički prikazane, tzv. placentalne retorike, izraženo fonične i taktilne retorike, kojom autorica briše granice tjelesnog i psihološkog, stvarnosti i fikcije, teksta i konteksta. Ova neobična prededipska retorika, uronjena u biološka tkiva i tjelesne tekućine, predstavlja se kao kozmički vodeni prostor heterogenog, prostor unutar kojeg žensko tijelo progovara. Intimna komunikacija majke i njezina djeteta u utrobi, odnosno autorice i njezina nerođenog teksta, neobičnom kvantitativnom i kvalitativnom distribucijom interpunkcijskih i prozodemskih elemenata, fonetsko-morfološkim varijacijama, te subverzivnim pripovijedačkim bricolage tehnikama, predstavlja se kao simbol retoričke slobode, prostor odsutstva patrijarhalnih autoriteta, prostor pluralne, inkluzivne i fluidne, ženske i ženstvene tekstualnosti, unutar koje fizičko postaje metafizičko, tjelesno postaje grafološko, a pisanje postaje karnalna materijalizacija ljudskoga glasa.
{"title":"Placentalna retorika – narativna avangardnost u Pismu nerođenom djetetu Oriane Fallaci","authors":"Astrid Kovačević","doi":"10.29162/anafora.v9i2.6","DOIUrl":"https://doi.org/10.29162/anafora.v9i2.6","url":null,"abstract":"U radu se razmatra mogućnost novog, interdisciplinarnog, neopoststrukturalističkog tumačenja romana Oriane Fallaci Pismo nerođenom djetetu. Polazi se od spoznaja poststrukturalističke teorije teksta te psihoanalitičkog feminizma, koji se proširuju rezultatima istraživanja iz područja stilistike i metrike. Na temelju kritičkoga čitanja teorijske literature te lingvističkom analizom odabranih ulomaka romana, opisat će se prisutnost specifične, metaforički prikazane, tzv. placentalne retorike, izraženo fonične i taktilne retorike, kojom autorica briše granice tjelesnog i psihološkog, stvarnosti i fikcije, teksta i konteksta. Ova neobična prededipska retorika, uronjena u biološka tkiva i tjelesne tekućine, predstavlja se kao kozmički vodeni prostor heterogenog, prostor unutar kojeg žensko tijelo progovara. Intimna komunikacija majke i njezina djeteta u utrobi, odnosno autorice i njezina nerođenog teksta, neobičnom kvantitativnom i kvalitativnom distribucijom interpunkcijskih i prozodemskih elemenata, fonetsko-morfološkim varijacijama, te subverzivnim pripovijedačkim bricolage tehnikama, predstavlja se kao simbol retoričke slobode, prostor odsutstva patrijarhalnih autoriteta, prostor pluralne, inkluzivne i fluidne, ženske i ženstvene tekstualnosti, unutar koje fizičko postaje metafizičko, tjelesno postaje grafološko, a pisanje postaje karnalna materijalizacija ljudskoga glasa.","PeriodicalId":40415,"journal":{"name":"Anafora","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69711260","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Der vorliegende Beitrag zeigt anhand des 1996 publizierten Bilderbuches Die Menschenfresserin von Valérie Dayre und Wolf Erlbruch die fließenden Grenzen zwischen dem Kranken und Gesunden, Fremden und Eigenen sowie Natur und Kultur auf. Er widmet sich dem kulturgeschichtlich äußerst brisanten Themenfeld der Anthropophagie, die stets dem ‚Anderen‘ in Gestalt des sogenannten Primitiven oder der Hexe zugeschrieben wurde, und verknüpft diese Diskurse mit der Psychoanalyse, die kannibalische Gelüste als Ausdruck einer frühen oralen Phase des Menschen wertet. Mit der Figur einer sowohl seelisch wie körperlich kranken Frau, die ein Kind fressen will, werden Kernfragen des Krankheitsdiskurses berührt: Was ist Krankheit? Ein physisches oder psychisches Phänomen? Ist eine manisch-depressive Menschenfresserin zu fürchten oder zu bemitleiden? Die oft ambivalenten Antworten auf diese Fragen führten bei der Veröffentlichung des Buches zu einem Skandal. Im vorliegenden Beitrag führen sie zu einer Verweigerung linearer Deutung. Das Buch verstößt sowohl inhaltlich als auch ästhetisch gegen die im Bilderbuch geforderte Ästhetik des Einfachen und Naiven. Besonders das Collageprinzip unterstützt dabei die Kraft des Krankheitsbildes, vermeintlich sichere Beziehungsstrukturen aufzulösen. Die ‚kranke‘ Menschenfresserin erscheint als ‚wilde‘ Kriegerin, die sich gegen jede Entwicklungs- und Deutungslogik sperrt und stattdessen auf einen niemals zu tilgenden Urkonflikt des Menschen hinweist: zwischen Mutter und Kind, Ich und Anderem.
{"title":"Krankheit als Kampf. Die Menschenfresserin (1996) von Valérie Dayre und Wolf Erlbruch","authors":"Julia Boog-Kaminski","doi":"10.29162/anafora.v9i1.8","DOIUrl":"https://doi.org/10.29162/anafora.v9i1.8","url":null,"abstract":"Der vorliegende Beitrag zeigt anhand des 1996 publizierten Bilderbuches Die Menschenfresserin von Valérie Dayre und Wolf Erlbruch die fließenden Grenzen zwischen dem Kranken und Gesunden, Fremden und Eigenen sowie Natur und Kultur auf. Er widmet sich dem kulturgeschichtlich äußerst brisanten Themenfeld der Anthropophagie, die stets dem ‚Anderen‘ in Gestalt des sogenannten Primitiven oder der Hexe zugeschrieben wurde, und verknüpft diese Diskurse mit der Psychoanalyse, die kannibalische Gelüste als Ausdruck einer frühen oralen Phase des Menschen wertet. Mit der Figur einer sowohl seelisch wie körperlich kranken Frau, die ein Kind fressen will, werden Kernfragen des Krankheitsdiskurses berührt: Was ist Krankheit? Ein physisches oder psychisches Phänomen? Ist eine manisch-depressive Menschenfresserin zu fürchten oder zu bemitleiden? Die oft ambivalenten Antworten auf diese Fragen führten bei der Veröffentlichung des Buches zu einem Skandal. Im vorliegenden Beitrag führen sie zu einer Verweigerung linearer Deutung. Das Buch verstößt sowohl inhaltlich als auch ästhetisch gegen die im Bilderbuch geforderte Ästhetik des Einfachen und Naiven. Besonders das Collageprinzip unterstützt dabei die Kraft des Krankheitsbildes, vermeintlich sichere Beziehungsstrukturen aufzulösen. Die ‚kranke‘ Menschenfresserin erscheint als ‚wilde‘ Kriegerin, die sich gegen jede Entwicklungs- und Deutungslogik sperrt und stattdessen auf einen niemals zu tilgenden Urkonflikt des Menschen hinweist: zwischen Mutter und Kind, Ich und Anderem.","PeriodicalId":40415,"journal":{"name":"Anafora","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69711315","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article contextualizes the films of Michael Moore in the tradition of American populism. Extending in particular from historian Thomas Frank’s argument in People without Power that populism can usefully be understood as a particular American tradition of leftism, the article traces how three of Moore’s films—Roger & Me (1989), Sicko (2007), and Capitalism: A Love Story (2009)—articulate political concerns that overlap with the political beliefs of American populism. The article also explores some of the populist elements in Moore’s style and argues that there is good reason to see Michael Moore as a twenty-first-century American populist but that any attempt to do so must remain clear about the definitions of populism used to make this contextualist argument.
{"title":"Michael Moore, an American Populist?","authors":"M. Jensen","doi":"10.29162/anafora.v9i2.2","DOIUrl":"https://doi.org/10.29162/anafora.v9i2.2","url":null,"abstract":"This article contextualizes the films of Michael Moore in the tradition of American populism. Extending in particular from historian Thomas Frank’s argument in People without Power that populism can usefully be understood as a particular American tradition of leftism, the article traces how three of Moore’s films—Roger & Me (1989), Sicko (2007), and Capitalism: A Love Story (2009)—articulate political concerns that overlap with the political beliefs of American populism. The article also explores some of the populist elements in Moore’s style and argues that there is good reason to see Michael Moore as a twenty-first-century American populist but that any attempt to do so must remain clear about the definitions of populism used to make this contextualist argument.","PeriodicalId":40415,"journal":{"name":"Anafora","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69711205","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
U radu se analiziraju kulturni i medijski tragovi u poeziji Branka Čegeca. Istraženi su, opisani i protumačeni iz perspektive subjektne strukture u trima autorovim tekstovima triju pjesničkih zbirki objavljenih 80-ih godina 20. stoljeća – „Genesis (domovina): vazda i dovijeka“ iz Eros-Europa-Arafat, „Abcčćdđdžefghijklmnnjoprsštuvzž“ iz Zapadno-istočnoga spola i „Stanje stvari“ iz Melankoličnoga ljetopisa. Rad se oslanja na razlike između individualnoga i kolektivnoga pamćenja (J. Assmann) te dominantne i emergentne kulture (R. Williams), pri čemu tekst postaje poprištem njihove borbe. Tragovi kultura i medija najčešće se zamjećuju u motivskim slojevima, a njihovi su učinci vidljivi u otporima subjektnih struktura koje kritički rastvaraju prevladavajuće diskurse moći, ponajprije jezičnim i diskurzivnim igrama.
{"title":"Otpor subjekta u poeziji Branka Čegeca","authors":"Lucija Jakić, Ivana Buljubašić Srb","doi":"10.29162/anafora.v9i2.9","DOIUrl":"https://doi.org/10.29162/anafora.v9i2.9","url":null,"abstract":"U radu se analiziraju kulturni i medijski tragovi u poeziji Branka Čegeca. Istraženi su, opisani i protumačeni iz perspektive subjektne strukture u trima autorovim tekstovima triju pjesničkih zbirki objavljenih 80-ih godina 20. stoljeća – „Genesis (domovina): vazda i dovijeka“ iz Eros-Europa-Arafat, „Abcčćdđdžefghijklmnnjoprsštuvzž“ iz Zapadno-istočnoga spola i „Stanje stvari“ iz Melankoličnoga ljetopisa. Rad se oslanja na razlike između individualnoga i kolektivnoga pamćenja (J. Assmann) te dominantne i emergentne kulture (R. Williams), pri čemu tekst postaje poprištem njihove borbe. Tragovi kultura i medija najčešće se zamjećuju u motivskim slojevima, a njihovi su učinci vidljivi u otporima subjektnih struktura koje kritički rastvaraju prevladavajuće diskurse moći, ponajprije jezičnim i diskurzivnim igrama.","PeriodicalId":40415,"journal":{"name":"Anafora","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69711396","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The Other, whose presence is essential for the construction of the Self, has almost always been depicted peculiarly in the literary texts of the East and the West. The investigation of Jalal al-Din Rumi’s parables and Bernard Pomerance’s play, albeit the genres, time, place, and cultures are totally different—Rumi’s parables are classical Persian poems and Pomerance’s work is a modern American play—well indicates how the Other is mistakenly delineated and how the Colonizer’s attempt at making the Other “almost the same, but not quite”—as Bhabha states—fails and leads to the unsophisticated fabrication of the Other. Self is well understood in relation to the understanding of the Other. In this research, it is shown how both the Other and the Colonizer fail when there is no thorough mutual understanding.
{"title":"Self Is Meaningless When the Other Is Not Truly Understood","authors":"Samira Sasani","doi":"10.29162/anafora.v9i1.7","DOIUrl":"https://doi.org/10.29162/anafora.v9i1.7","url":null,"abstract":"The Other, whose presence is essential for the construction of the Self, has almost always been depicted peculiarly in the literary texts of the East and the West. The investigation of Jalal al-Din Rumi’s parables and Bernard Pomerance’s play, albeit the genres, time, place, and cultures are totally different—Rumi’s parables are classical Persian poems and Pomerance’s work is a modern American play—well indicates how the Other is mistakenly delineated and how the Colonizer’s attempt at making the Other “almost the same, but not quite”—as Bhabha states—fails and leads to the unsophisticated fabrication of the Other. Self is well understood in relation to the understanding of the Other. In this research, it is shown how both the Other and the Colonizer fail when there is no thorough mutual understanding.","PeriodicalId":40415,"journal":{"name":"Anafora","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69711105","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
U radu se analizira humorni diskurs internetskih mema što su nastali kao reakcija na pandemiju koronavirusa. Memi se proučavaju u sklopu digitalnoga folklora kao virtualni surogati vica katastrofe s čijim žanrom imaju mnogo sličnosti. Pojavili su se odmah nakon što se pojavio i virus, tematiziraju pandemiju i novonastale životne situacije uvjetovane njome te na njih velik utjecaj imaju i medijska izvještavanja o virusu i njegovu širenju. Cilj je rada analizirati humorni diskurs internetskih mema koji je podijeljen u četiri tematsko-motivske skupine motivirane načinom pristupa temi virusa i pandemije, a zatim i pokušati uočiti kako se u njima postiže humorni učinak u usporedbi s vicem katastrofe. Istraživanje je usmjereno na internetske meme objavljene na dva instagramska profila: eroGAG i Gospodar Pršljenova. Memi su objavljeni u vrijeme početka pandemije u Europi, tj. u ožujku i travnju 2020. godine.
这部作品分析了作为对冠状病毒大流行的回应而出现的互联网模因的幽默辩论。模因以数字民间传说的形式被研究，作为灾难笑话的虚拟代理人，其类型有很多相似之处。病毒出现后，他们立即以大流行和新的生活条件为主题，并对病毒及其传播媒介产生了重大影响。目的是分析互联网模因的幽默辩论，通过访问病毒和流行病的主题，将其分为四个主题小组，然后试图看看与灾难相比，它们是如何产生幽默后果的。Istraživanje us mjereno na internetske meme objavljene na dva instagramska profila：eroGAG i Gospodar Pršljenova。备忘录是在2020年3月和4月欧洲疫情开始时发表的。年
{"title":"Humor katastrofe i internetski memi u vrijeme pandemije koronavirusa na primjeru dvaju instagramskih profila","authors":"Željko Predojević","doi":"10.29162/anafora.v8i1.1","DOIUrl":"https://doi.org/10.29162/anafora.v8i1.1","url":null,"abstract":"U radu se analizira humorni diskurs internetskih mema što su nastali kao reakcija na pandemiju koronavirusa. Memi se proučavaju u sklopu digitalnoga folklora kao virtualni surogati vica katastrofe s čijim žanrom imaju mnogo sličnosti. Pojavili su se odmah nakon što se pojavio i virus, tematiziraju pandemiju i novonastale životne situacije uvjetovane njome te na njih velik utjecaj imaju i medijska izvještavanja o virusu i njegovu širenju. Cilj je rada analizirati humorni diskurs internetskih mema koji je podijeljen u četiri tematsko-motivske skupine motivirane načinom pristupa temi virusa i pandemije, a zatim i pokušati uočiti kako se u njima postiže humorni učinak u usporedbi s vicem katastrofe. Istraživanje je usmjereno na internetske meme objavljene na dva instagramska profila: eroGAG i Gospodar Pršljenova. Memi su objavljeni u vrijeme početka pandemije u Europi, tj. u ožujku i travnju 2020. godine.","PeriodicalId":40415,"journal":{"name":"Anafora","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-06-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48170694","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The present article studies Mahmoud Dowlatabadi’s novel Yusef ’s Days and Nights and attempts to provide a different reading of the novel through the application of C. G. Jung’s theories on the collective unconscious and archetypes. From Jung’s perspective, the collective unconscious is the reservoir of psychic energy and the source of all human memories; also, the archetypes are universal mental structures the recognition of which becomes possible through the symbolic interpretation of dreams, fantasies, myths, and rituals. “Shadow” is one of the most important archetypes that, according to Jung, is the dark half of our being. This shadow is our alter-ego, and it is only when we accept it as a part of our being that we can achieve psychic equilibrium and complete the process of individuation. The process of individuation, and indeed of the conscious mind’s coming to terms with the ‘self,’ usually begins with suffering. Although this initial shock is not often recognized, it is a kind of summoning. However, Yusef (the protagonist of the novel) follows the path of denial and his projections of his fears and anxieties gradually make the distinction between illusion and reality difficult for him. Therefore, the confrontation with theshadow, although difficult and perhaps horrifying, is a necessary step on the road towards mental and psychical maturity.
{"title":"The Shadow Archetype in Mahmud Dowlatabadi’s Novel Yusef’s Days and Nights","authors":"Masoud Farahmandfar, Ghiasuddin Alizadeh","doi":"10.29162/anafora.v8i1.8","DOIUrl":"https://doi.org/10.29162/anafora.v8i1.8","url":null,"abstract":"The present article studies Mahmoud Dowlatabadi’s novel Yusef ’s Days and Nights and attempts to provide a different reading of the novel through the application of C. G. Jung’s theories on the collective unconscious and archetypes. From Jung’s perspective, the collective unconscious is the reservoir of psychic energy and the source of all human memories; also, the archetypes are universal mental structures the recognition of which becomes possible through the symbolic interpretation of dreams, fantasies, myths, and rituals. “Shadow” is one of the most important archetypes that, according to Jung, is the dark half of our being. This shadow is our alter-ego, and it is only when we accept it as a part of our being that we can achieve psychic equilibrium and complete the process of individuation. The process of individuation, and indeed of the conscious mind’s coming to terms with the ‘self,’ usually begins with suffering. Although this initial shock is not often recognized, it is a kind of summoning. However, Yusef (the protagonist of the novel) follows the path of denial and his projections of his fears and anxieties gradually make the distinction between illusion and reality difficult for him. Therefore, the confrontation with theshadow, although difficult and perhaps horrifying, is a necessary step on the road towards mental and psychical maturity.","PeriodicalId":40415,"journal":{"name":"Anafora","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-06-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49045299","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Uživljavanju se tijekom čovjekova života prilazi iz pozicije odgojnog ideala, a promatra se kao sposobnost razumijevanja emocija drugih ljudi i mogućnost stavljanja sebe u njihove osjećaje. Obrazovni programi kojima je središnji cilj promicanje razvoja humanog ponašanja i uživljavanja sve više dobivaju na značaju u odgojno-obrazovnom procesu. Razlozi interesa za usvajanje vještine uživljavanja dolaze od razmišljanja da je ono temelj za pozitivan razvoj i mentalno zdravlje djece. Ranija istraživanja ukazuju na to da književnost može utjecati na uživljavanje djeteta ako se osoba emotivno unese u priču, ako čita o pojedincu koji je iste dobi i razmišlja što bi i sama učinila da se nađe u istoj situaciji. Rad ukazuje na mogućnosti slobodnog odabira naslova školske lektire uz vodstvo učitelja s ciljem obogaćivanja i razvitka uživljavanja čitanjem i promišljanjem o sadržajima djela. U istraživačkom dijelu analiziraju se sadržaji odabranih književnih djela za učenike četvrtih i petih razreda osnovne škole, a koji se ne nalaze na popisu obvezne školske lektire. Nasumce odabrani uzorak djela obuhvaća preporuke za slobodan izbor lektire u četvrtom i petom razredu osnovne škole. Preporučena su djela: George ‒ Alex Gino, Vječni Tuckovi ‒Natalie Babbitt, Raymie Nightingale: Tri hrabrice ‒ Kate DiCamillo, Čudo i Auggie i ja: Tri čudesne priče ‒ R. J. Palacio te Most u Terabithiju ‒ Katherine Paterson. Analizom sadržaja odabranih djela prepoznaju se teme, odnosi, pozitivna i negativna ponašanja čiji opisi imaju zadaću poticati uživljavanje učenika. Uživljavanja pružaju slikovite opise za oblikovanje identiteta, prijateljske odnose, prihvaćanje sebe i drugih, neprihvaćanje vršnjačkog nasilja, sućut i podršku pri gubitku drage osobe.
享受人们的生活来自一个理想的位置，它被视为一种理解他人情绪的能力，以及将自己置于他人感受中的能力。旨在促进人类行为和享受的教育方案在教育过程中越来越重要。采用技能的兴趣来自于认为这是儿童积极发展和心理健康的基础。Ranija istraživanja ukazuju na to da književnost može utjecati na uživljavanje djeteta ako se osoba emotivno unese u priču，akočita o pojedincu koji je iste dobi i razmišljašto bi i sama učinila da se naže u istoj situaciji。该作品强调了自由选择学校教师头衔的可能性，目的是丰富和享受阅读和思考作品内容。研究部分分析了为小学四年级和五年级学生选择的图书馆的内容，这些学生不在义务学校医生名单上。所选择的行动样本包括小学四年级和五年级自由选择讲师的建议。推荐动作：乔治-亚历克斯·吉诺，永恒的塔科维-娜塔莉·巴比特，雷米·南丁格尔：三个勇敢者-凯特·迪卡米洛，奇迹和奥吉和我：三个精彩的故事-R·J·帕拉西奥和特拉比希亚的布里奇-凯瑟琳·帕特森。对所选作品内容的分析是通过主题、关系、积极和消极行为来识别的，其中的任务是鼓励学生享受。享受礼物的照片，身份，友谊，接受自己和他人，不允许和平暴力，同情和支持失去一个亲爱的人。
{"title":"Lektirom do empatije","authors":"Mirko Lukaš, Ines Begović","doi":"10.29162/anafora.v8i1.4","DOIUrl":"https://doi.org/10.29162/anafora.v8i1.4","url":null,"abstract":"Uživljavanju se tijekom čovjekova života prilazi iz pozicije odgojnog ideala, a promatra se kao sposobnost razumijevanja emocija drugih ljudi i mogućnost stavljanja sebe u njihove osjećaje. Obrazovni programi kojima je središnji cilj promicanje razvoja humanog ponašanja i uživljavanja sve više dobivaju na značaju u odgojno-obrazovnom procesu. Razlozi interesa za usvajanje vještine uživljavanja dolaze od razmišljanja da je ono temelj za pozitivan razvoj i mentalno zdravlje djece. Ranija istraživanja ukazuju na to da književnost može utjecati na uživljavanje djeteta ako se osoba emotivno unese u priču, ako čita o pojedincu koji je iste dobi i razmišlja što bi i sama učinila da se nađe u istoj situaciji. Rad ukazuje na mogućnosti slobodnog odabira naslova školske lektire uz vodstvo učitelja s ciljem obogaćivanja i razvitka uživljavanja čitanjem i promišljanjem o sadržajima djela. U istraživačkom dijelu analiziraju se sadržaji odabranih književnih djela za učenike četvrtih i petih razreda osnovne škole, a koji se ne nalaze na popisu obvezne školske lektire. Nasumce odabrani uzorak djela obuhvaća preporuke za slobodan izbor lektire u četvrtom i petom razredu osnovne škole. Preporučena su djela: George ‒ Alex Gino, Vječni Tuckovi ‒Natalie Babbitt, Raymie Nightingale: Tri hrabrice ‒ Kate DiCamillo, Čudo i Auggie i ja: Tri čudesne priče ‒ R. J. Palacio te Most u Terabithiju ‒ Katherine Paterson. Analizom sadržaja odabranih djela prepoznaju se teme, odnosi, pozitivna i negativna ponašanja čiji opisi imaju zadaću poticati uživljavanje učenika. Uživljavanja pružaju slikovite opise za oblikovanje identiteta, prijateljske odnose, prihvaćanje sebe i drugih, neprihvaćanje vršnjačkog nasilja, sućut i podršku pri gubitku drage osobe.","PeriodicalId":40415,"journal":{"name":"Anafora","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69709863","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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