Naratologija mogućih svjetova svojim je propitivanjem statusa i podrijetla fikcionalnih tekstova logično okrilje za razvoj pronašla u postklasičnoj naratologiji. Od samog početka zainteresirana za novo tumačenje pojma istine u fikciji, ova je disciplina uvođenjem pojmova svijeta, kao semantičke domene koju projicira tekst, i modalnosti, kao različitih načina na koji osobe i objekti u svjetovima postoje, uspjela objasniti narav fikcije i njezinu multiperspektivnost daleko bolje od ranijih teorija – od onih analitičkih logičara, preko saussureovskog strukturalizma sve do teorije mimeze. Posljedično, naratologija mogućih svjetova otvorila je nove horizonte u klasičnim naratološkim proučavanjima uvođenjem koncepata poput pričljivosti, kojom se nastoji procijeniti estetski potencijal određenog zapleta, ili autentizacije koja objašnjava mehanizme kojima pripovjedač stječe narativni autoritet. Novi su poticaji proučavanju dani i u području teorije žanra, gdje je na temelju postojanja ili izostanka određenih atributa mogućeg svijeta postalo moguće odrediti žanrovsku orijentaciju teksta. Zbog duboke veze s postklasičnim okretom prema kontekstu i interdisciplinarnosti, naratologija mogućih svjetova i dalje otvara nove horizonte, osobito na području studija medija, gdje sjedinjenjem koncepata imerzije i interaktivnosti nastoji modelirati estetiku koja bi optimalno stimulirala recipijentovu imaginaciju.
可能世界的本质是后古典叙事学中虚构文本发展的地位和起源问题。Od samog početka zainteresirana za novo tumačenje pojma istine u fikciji，ova je constraina uvo je enjem pojmova svijeta，kao semantičke domene koju projicira tekst，i modalnosti，kao različitih načina na koji osobe i objekti u svjetovima postoje，uspjela objasiniti narav fikcije i njezinu multiperspektivnost daleko bolje Od ranijih teorija–Od onih analitičkii h logičara，通过恐龙的结构来模仿理论。因此，可能世界的叙事学通过引入包容性等概念，在古典叙事学研究中开辟了新的视野，包容性试图评估特定困惑的美学潜力，或解释历史学家获得自然权威的机制的真实性。新的动机是研究天和体裁理论，在那里，基于世界某些属性的存在或不存在是可能的，有可能确定文本的体裁取向。由于后古典主义对语境和跨学科的深刻转向，可能世界的叙事学继续开辟了一个新的视野，特别是在媒体研究领域，测量和互动概念的集中试图为接受者想象力的审美最佳刺激建模。
{"title":"Naratologija mogućih svjetova – pojmovi, pristupi, horizonti","authors":"Jović Andrea","doi":"10.29162/anafora.v8i1.3","DOIUrl":"https://doi.org/10.29162/anafora.v8i1.3","url":null,"abstract":"Naratologija mogućih svjetova svojim je propitivanjem statusa i podrijetla fikcionalnih tekstova logično okrilje za razvoj pronašla u postklasičnoj naratologiji. Od samog početka zainteresirana za novo tumačenje pojma istine u fikciji, ova je disciplina uvođenjem pojmova svijeta, kao semantičke domene koju projicira tekst, i modalnosti, kao različitih načina na koji osobe i objekti u svjetovima postoje, uspjela objasniti narav fikcije i njezinu multiperspektivnost daleko bolje od ranijih teorija – od onih analitičkih logičara, preko saussureovskog strukturalizma sve do teorije mimeze. Posljedično, naratologija mogućih svjetova otvorila je nove horizonte u klasičnim naratološkim proučavanjima uvođenjem koncepata poput pričljivosti, kojom se nastoji procijeniti estetski potencijal određenog zapleta, ili autentizacije koja objašnjava mehanizme kojima pripovjedač stječe narativni autoritet. Novi su poticaji proučavanju dani i u području teorije žanra, gdje je na temelju postojanja ili izostanka određenih atributa mogućeg svijeta postalo moguće odrediti žanrovsku orijentaciju teksta. Zbog duboke veze s postklasičnim okretom prema kontekstu i interdisciplinarnosti, naratologija mogućih svjetova i dalje otvara nove horizonte, osobito na području studija medija, gdje sjedinjenjem koncepata imerzije i interaktivnosti nastoji modelirati estetiku koja bi optimalno stimulirala recipijentovu imaginaciju.","PeriodicalId":40415,"journal":{"name":"Anafora","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69710309","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}
Consideration of Anne Bradstreet’s poem “In Honour of That High and Mighty Princess, Queen Elizabeth, of Most Happy Memory” (1643) draws our attention to the paramount significance of mythical imagery in shaping Elizabeth I’s posthumous reputation. The examination of this poem illustrates the ways in which Elizabeth’s memory is glorified and discusses the elegiac mythical reconstruction of her image by what Schweitzer aptly labelled a “gendered poetic voice” (307). This project shows that the poet makes good use of myth to write Elizabeth’s afterlife image. It scrutinizes Bradstreet’s mythological depiction of the last Tudor monarch, Queen Elizabeth I, illustrating how a woman poet rewrites the identity of a female sovereign. A close analysis of various mythical, elegiac images celebrating Elizabeth allows us to evaluate Bradstreet’s contribution to her myth-creation. It examines three mythical representations: Elizabeth as an incomparable leader, a Phoenix Queen, and a warrior Amazonian monarch.
{"title":"Mythologizing the Memory of Gloriana","authors":"S. Garrouri","doi":"10.29162/anafora.v8i1.5","DOIUrl":"https://doi.org/10.29162/anafora.v8i1.5","url":null,"abstract":"Consideration of Anne Bradstreet’s poem “In Honour of That High and Mighty Princess, Queen Elizabeth, of Most Happy Memory” (1643) draws our attention to the paramount significance of mythical imagery in shaping Elizabeth I’s posthumous reputation. The examination of this poem illustrates the ways in which Elizabeth’s memory is glorified and discusses the elegiac mythical reconstruction of her image by what Schweitzer aptly labelled a “gendered poetic voice” (307). This project shows that the poet makes good use of myth to write Elizabeth’s afterlife image. It scrutinizes Bradstreet’s mythological depiction of the last Tudor monarch, Queen Elizabeth I, illustrating how a woman poet rewrites the identity of a female sovereign. A close analysis of various mythical, elegiac images celebrating Elizabeth allows us to evaluate Bradstreet’s contribution to her myth-creation. It examines three mythical representations: Elizabeth as an incomparable leader, a Phoenix Queen, and a warrior Amazonian monarch.","PeriodicalId":40415,"journal":{"name":"Anafora","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69709905","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 cooperation between the Catholic Church and the State is a necessity and an imperative that was addressed by two important thinkers of the 19th century, John Henry Newman and Josip Juraj Strossmayer, and the models that actually trace back to their reflections are existent even nowadays. In the second part of a textological and theological analysis of Newman’s and Strossmayer’s understanding of the relationship between the Church and the State, our objective is to explore how much Newman’s and Strossmayer’s deliberations may be useful in the formulation of the bases on which a good relationship between the Catholic Church and the State should be built. We have seen that comprehension and concord are the fundamental imperatives of that relationship, as well as of the contemporary models that analyze it. The modern obstacles to this relationship have the identical roots, findable in negative liberalism and repaganization. On the trail of Newman and Strossmayer, we conclude that an anthropological reform primarily taking hold of the human heart is necessary today. Therefore, such a reform has to realize that the life in accordance with one’s own conscience, in the truth, is more valuable than all the utopian lies and deceptions that formulate the socioeconomic relations and personal life.
19世纪两位重要的思想家约翰·亨利·纽曼(JohnHenry Newman)和约瑟普·尤拉杰·斯特罗斯迈耶(Josip Juraj Strossmayer)提出了天主教会与国家合作的必要性和迫切性，而实际上追溯到他们思考的模式即使在今天也存在。在第二部分，对纽曼和斯特罗斯迈耶对教会与国家关系的理解进行考据学和神学分析，我们的目标是探讨纽曼和斯特罗斯迈耶的论述在构建良好的天主教会与国家关系的基础上有多大用处。我们已经看到，理解和和谐是这种关系的基本要求，也是分析这种关系的当代模式的基本要求。这种关系的现代障碍有相同的根源，可以在消极自由主义和重组中找到。在纽曼和斯特罗斯迈耶的足迹上，我们得出结论，今天有必要进行一场主要针对人类内心的人类学改革。因此，这种改革必须认识到，与自己的良心一致的生活，在真理中，比所有制定社会经济关系和个人生活的乌托邦谎言和欺骗更有价值。
{"title":"Newman and Strossmayer on the Relationship Between the Church and the State (II)","authors":"Šimo Šokčević, T. Živić","doi":"10.29162/anafora.v8i1.6","DOIUrl":"https://doi.org/10.29162/anafora.v8i1.6","url":null,"abstract":"The cooperation between the Catholic Church and the State is a necessity and an imperative that was addressed by two important thinkers of the 19th century, John Henry Newman and Josip Juraj Strossmayer, and the models that actually trace back to their reflections are existent even nowadays. In the second part of a textological and theological analysis of Newman’s and Strossmayer’s understanding of the relationship between the Church and the State, our objective is to explore how much Newman’s and Strossmayer’s deliberations may be useful in the formulation of the bases on which a good relationship between the Catholic Church and the State should be built. We have seen that comprehension and concord are the fundamental imperatives of that relationship, as well as of the contemporary models that analyze it. The modern obstacles to this relationship have the identical roots, findable in negative liberalism and repaganization. On the trail of Newman and Strossmayer, we conclude that an anthropological reform primarily taking hold of the human heart is necessary today. Therefore, such a reform has to realize that the life in accordance with one’s own conscience, in the truth, is more valuable than all the utopian lies and deceptions that formulate the socioeconomic relations and personal life.","PeriodicalId":40415,"journal":{"name":"Anafora","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69709917","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 : 2021-01-01DOI: 10.29162/anafora.v8i2.13
Monika Leipelt-Tsai
In der deutschsprachigen Literatur der Gegenwart findet das zuvor tabuisierte Thema ‚neurodegenerative Erkrankungen‘, das den globalen demografischen Wandel indiziert, nach der Jahrtausendwende insbesondere als Demenz-Erzählung Beachtung. Im Jahr 2015 thematisiert dann Richard Wagner in seinem Roman Herr Parkinson ganz prominent die zweithäufigste degenerative Erkrankung des Nervensystems, Morbus Parkinson. Sein Roman spricht die Erkrankung erstmals aus der Perspektive eines selbst Betroffenen an und bricht mit den Konventionen des literarischen Diskurses. Wagner adressiert unterschiedliche Phasen der Erkrankung von der Diagnose bis zum Ausfall des Bewegungsapparats. Seine Erzähltechnik bedient sich dabei verschiedenster raffinierter Spiele, die eine Dechiffrierung verlangen. Es fragt sich: Weshalb wurde die Parkinsonerkrankung zuvor tabuisiert? Wie werden in Wagners Roman Autobiografie und Fiktion verflochten? Auf welche poetologische Reflexion wird in Herr Parkinson verwiesen? Wagner setzt in seinem Text das Sprechen als Parkinsonerkrankter bzw. dessen Unmöglichkeit performativ in Szene. Spiele erscheinen dabei als Motiv, im Verfahren des Sprachspiels und der Anspielung sowie als komplexe Verschränkung des Maskenspiels, welches Symptome der Erkrankung auch als Bewusstseinsspaltung entfaltet. Die Parkinsonerkrankung scheint surreal-anachronistische Halluzinationen zu produzieren und stellt die Identität des Selbst in Frage.
{"title":"Die Problematik von Erkrankung, Tabu und Autobiografie. Masken- und andere Spiele in Richard Wagners Herr Parkinson","authors":"Monika Leipelt-Tsai","doi":"10.29162/anafora.v8i2.13","DOIUrl":"https://doi.org/10.29162/anafora.v8i2.13","url":null,"abstract":"In der deutschsprachigen Literatur der Gegenwart findet das zuvor tabuisierte Thema ‚neurodegenerative Erkrankungen‘, das den globalen demografischen Wandel indiziert, nach der Jahrtausendwende insbesondere als Demenz-Erzählung Beachtung. Im Jahr 2015 thematisiert dann Richard Wagner in seinem Roman Herr Parkinson ganz prominent die zweithäufigste degenerative Erkrankung des Nervensystems, Morbus Parkinson. Sein Roman spricht die Erkrankung erstmals aus der Perspektive eines selbst Betroffenen an und bricht mit den Konventionen des literarischen Diskurses. Wagner adressiert unterschiedliche Phasen der Erkrankung von der Diagnose bis zum Ausfall des Bewegungsapparats. Seine Erzähltechnik bedient sich dabei verschiedenster raffinierter Spiele, die eine Dechiffrierung verlangen. Es fragt sich: Weshalb wurde die Parkinsonerkrankung zuvor tabuisiert? Wie werden in Wagners Roman Autobiografie und Fiktion verflochten? Auf welche poetologische Reflexion wird in Herr Parkinson verwiesen? Wagner setzt in seinem Text das Sprechen als Parkinsonerkrankter bzw. dessen Unmöglichkeit performativ in Szene. Spiele erscheinen dabei als Motiv, im Verfahren des Sprachspiels und der Anspielung sowie als komplexe Verschränkung des Maskenspiels, welches Symptome der Erkrankung auch als Bewusstseinsspaltung entfaltet. Die Parkinsonerkrankung scheint surreal-anachronistische Halluzinationen zu produzieren und stellt die Identität des Selbst in Frage.","PeriodicalId":40415,"journal":{"name":"Anafora","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69709926","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 paper intends to closely explore the process of identity formation in the characters of Jeanette Winterson’s novel Gut Symmetries in light of Catherine Malabou’s notions of plasticity, destructive plasticity or trauma, and trans-subjectivation. Identity as an inconsistent procedure of becoming would be intensely explicated in Gut Symmetries through the viewpoint of the characters, in particular Alice. Identity as a mere space or crack, which constantly provides the opportunity for the subject to observe himself/herself, could be introduced as Catherine Malabou’s notion of plasticity of the subjectivity or trans-subjectivation in the novel. The juxtaposition of the pliability of quantum physics and trans-subjectivity in the novel would be highlighted to emphasize that presence, time, identity, and even being could be nothing other than plasticity or ever-fluctuating matter and non-matter. Plasticity as the absolute nucleus of existence, identity, and love would be manifested as perceptible in the form of trans-subjectivity. Sadism as a form of destructive plasticity would be spotlighted as the death drive in the novel and it corroborates the plasticity of love, which could betransformed into hate. Spotlighting femininity as essenceless, Alice and Stella would be represented as the instances of femininity that is mutable and erratic.
{"title":"Seeking Solid Subjectivity Versus Spotting Trans-Subjectivation in Winterson’s GUT Symmetries","authors":"Hoda Niknezhad-ferdos, Bakhtiar Sadjadi","doi":"10.29162/anafora.v8i1.7","DOIUrl":"https://doi.org/10.29162/anafora.v8i1.7","url":null,"abstract":"The present paper intends to closely explore the process of identity formation in the characters of Jeanette Winterson’s novel Gut Symmetries in light of Catherine Malabou’s notions of plasticity, destructive plasticity or trauma, and trans-subjectivation. Identity as an inconsistent procedure of becoming would be intensely explicated in Gut Symmetries through the viewpoint of the characters, in particular Alice. Identity as a mere space or crack, which constantly provides the opportunity for the subject to observe himself/herself, could be introduced as Catherine Malabou’s notion of plasticity of the subjectivity or trans-subjectivation in the novel. The juxtaposition of the pliability of quantum physics and trans-subjectivity in the novel would be highlighted to emphasize that presence, time, identity, and even being could be nothing other than plasticity or ever-fluctuating matter and non-matter. Plasticity as the absolute nucleus of existence, identity, and love would be manifested as perceptible in the form of trans-subjectivity. Sadism as a form of destructive plasticity would be spotlighted as the death drive in the novel and it corroborates the plasticity of love, which could betransformed into hate. Spotlighting femininity as essenceless, Alice and Stella would be represented as the instances of femininity that is mutable and erratic.","PeriodicalId":40415,"journal":{"name":"Anafora","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69709977","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 Beitrag beschäftigt sich mit den Entwürfen von Krankheitsbildern in den Prosawerken Schornstein (2006) von Jan Faktor und Terminifera (2007) von Michael Stavarič und befragt die Texte im Hinblick auf die Exklusionsmechanismen, die sich an der Marginalisierung und zunehmenden ‚Pathologisierung‘ beider Hauptfiguren beteiligen. Im Vordergrund steht dabei die Frage, wie sich die Wahrnehmung der Hauptfiguren durch die Außenwelt auf deren Selbstwahrnehmung und Handeln auswirkt. Nicht zuletzt wird überlegt, inwiefern die hier entworfenen Krankheitsbilder als eine Parabel bzw. ein Abbild der ‚Krankheiten‘ unserer heutigen Welt gelesen werden können.
{"title":"Krankheitsbilder im Roman Schornstein von Jan Faktor und Terminifera von Michael Stavarič","authors":"R. Cornejo","doi":"10.29162/anafora.v8i2.9","DOIUrl":"https://doi.org/10.29162/anafora.v8i2.9","url":null,"abstract":"Der Beitrag beschäftigt sich mit den Entwürfen von Krankheitsbildern in den Prosawerken Schornstein (2006) von Jan Faktor und Terminifera (2007) von Michael Stavarič und befragt die Texte im Hinblick auf die Exklusionsmechanismen, die sich an der Marginalisierung und zunehmenden ‚Pathologisierung‘ beider Hauptfiguren beteiligen. Im Vordergrund steht dabei die Frage, wie sich die Wahrnehmung der Hauptfiguren durch die Außenwelt auf deren Selbstwahrnehmung und Handeln auswirkt. Nicht zuletzt wird überlegt, inwiefern die hier entworfenen Krankheitsbilder als eine Parabel bzw. ein Abbild der ‚Krankheiten‘ unserer heutigen Welt gelesen werden können.","PeriodicalId":40415,"journal":{"name":"Anafora","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69710485","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 : 2021-01-01DOI: 10.29162/anafora.v8i2.11
Anna Maria Spener
Olga Grjasnowas Debütroman Der Russe ist einer, der Birken liebt (2012) ist literaturwissenschaftlich bereits häufig hinsichtlich der Symptomatik einer posttraumatischen Belastungsstörung der Ich-Erzählerin Mascha untersucht worden. Demgegenüber wird hier eine Lesart der erst kürzlich als eigenständige Diagnose in die Revision der ICD-11 aufgenommenen anhaltenden Trauerstörung bemüht, da deren physische wie psychische Symptomatik zutiefst mit der narratologischen Darstellungsform des Textes verwoben scheint. Maschas infolge des Todes ihres Lebenspartners eintretende Trauer als Störung schreibt sich nicht allein auf inhaltlich-thematischer Ebene in den Text ein, sondern zugleich auffällig (auch visuell) als Störung der Struktur des Erzählens selbst. Während Mascha im Zuge ihres Israelaufenthalts, den sie antritt, um zu trauern, schließlich den Gedanken äußert, Israel „war kein Sanatorium“ und ihre „Trauer war keine Krankheit“, wird im Aufsatz dargelegt, inwiefern der Romantext und dessen entrückte, ja selbst sogar angehaltene Zeit vielmehr anstelle eines Sanatoriums zum Aushandlungsort der Trauer als Krankheit werden, als (raum-)zeitlich vager, letztlich gar seine eigene achronologische Zeitform generierender (ewiger?) Aufenthalt im Krankheitszustand. Der Roman endet offen und entgegen der restlichen präteritalen Narration im Präsens, das (Über-)Leben der Ich-Erzählerin bleibt aufgrund einer eventuell erlittenen Verletzung fraglich, allein die Trauer ist und bleibt präsent, d. h. anhaltend, in ihrer auch historischen Begründetheit, die sich bis in die (Erzähl-)Gegenwart hinein fortschreibt, und sich nicht als bewältigt, gar als geheilt respektive überhaupt heilbar erweist.
{"title":"„Meine Trauer war (k-)eine Krankheit“? Achronologisches Erzählen einer anhaltenden Trauerstörung in Olga Grjasnowas Der Russe ist einer, der Birken liebt","authors":"Anna Maria Spener","doi":"10.29162/anafora.v8i2.11","DOIUrl":"https://doi.org/10.29162/anafora.v8i2.11","url":null,"abstract":"Olga Grjasnowas Debütroman Der Russe ist einer, der Birken liebt (2012) ist literaturwissenschaftlich bereits häufig hinsichtlich der Symptomatik einer posttraumatischen Belastungsstörung der Ich-Erzählerin Mascha untersucht worden. Demgegenüber wird hier eine Lesart der erst kürzlich als eigenständige Diagnose in die Revision der ICD-11 aufgenommenen anhaltenden Trauerstörung bemüht, da deren physische wie psychische Symptomatik zutiefst mit der narratologischen Darstellungsform des Textes verwoben scheint. Maschas infolge des Todes ihres Lebenspartners eintretende Trauer als Störung schreibt sich nicht allein auf inhaltlich-thematischer Ebene in den Text ein, sondern zugleich auffällig (auch visuell) als Störung der Struktur des Erzählens selbst. Während Mascha im Zuge ihres Israelaufenthalts, den sie antritt, um zu trauern, schließlich den Gedanken äußert, Israel „war kein Sanatorium“ und ihre „Trauer war keine Krankheit“, wird im Aufsatz dargelegt, inwiefern der Romantext und dessen entrückte, ja selbst sogar angehaltene Zeit vielmehr anstelle eines Sanatoriums zum Aushandlungsort der Trauer als Krankheit werden, als (raum-)zeitlich vager, letztlich gar seine eigene achronologische Zeitform generierender (ewiger?) Aufenthalt im Krankheitszustand. Der Roman endet offen und entgegen der restlichen präteritalen Narration im Präsens, das (Über-)Leben der Ich-Erzählerin bleibt aufgrund einer eventuell erlittenen Verletzung fraglich, allein die Trauer ist und bleibt präsent, d. h. anhaltend, in ihrer auch historischen Begründetheit, die sich bis in die (Erzähl-)Gegenwart hinein fortschreibt, und sich nicht als bewältigt, gar als geheilt respektive überhaupt heilbar erweist.","PeriodicalId":40415,"journal":{"name":"Anafora","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69710191","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}
Čitatelju je Eco otvorio vrata još u predsemiotičkoj fazi (Opera aperta, 1962), a potom ga je i naslovom (Lector in fabula, 1979) smjestio u samo središte „priče“ o semiotici književnosti. Preuzevši Peirceov pojam neograničene semioze kao ključ za semiotičku otvorenost teksta, što posljedično otvara potencijalno neograničen broj interpretativnih pokušaja u ekspanziji značenja, Eco je gotovo skrupulozno zabrinut za pogrešna tumačenja semioze. Njegovo ustrajno zagovaranje suradničkoga odnosa čitatelja i teksta sve snažnije poprima oblik apologetskoga zalaganja za prava teksta i nužde ocrtavanja minimalnih granica tumačenja (The Limits of Interpretation, 1990). Potencijalno neograničena semioza, poučavao je Eco, ne vodi apsolutnoj slobodi čitatelja, ne znači da interpretacija nema kriterije i da sve interpretacije imaju happy end. Bio je to glas koji se nije čuo. Eksponencijalni rast čitateljskih „prava“ i „sloboda“ bio je nezaustavljiv u poststrukturalizmu. Zašto su dekonstrukcija i rodni studiji, kao primjeri isključujućih perspektiva (radikalne otvorenosti teksta prepuštenog neograničenoj semiozi / radikalne zatvorenosti teksta koji ima samo ono značenje koje je unaprijed zadano), prekršaji suradničkoga odnosa prema tekstu i This work is licensed under a Creative Commons Attribution 4.0 International License. Ovaj rad dostupan je za upotrebu pod licencom Creative Commons Imenovanje 4.0 međunarodna.
Eco的读者在前符号学阶段打开了大门（Opera aperture，1962），然后标题（Lector在1979年寓言中）把它放在了“故事”的中心”关于文学符号学。通过将皮尔斯的无边界符号学思想作为符号开放的关键，最终开启了潜在的无限次解释尝试来扩展意义，Eco几乎一丝不苟地关注符号学的错误解释。它对共同读者与文本关系的持续协商越来越紧迫。《解释的限度》，1990年）。Potencijarno neograničena semioza，poučavao je Eco，ne vodi apsolunoj slobodičitatelja，ne znači da interpetacija nema kriterije i da sve interpetacije imaju happy end。那是一个他没有听到的声音。读者权利和自由的相应增长在后结构中是不可持续的。为什么解构和诞生研究是排他性的视角（文本的激进开放被抛弃到无边界的半封闭/文本只有预定意义的激进封闭）本作品获得知识共享署名4.0国际许可。这部作品以4.0国际的名义获得知识共享许可。
{"title":"Prava teksta. Neograničena semioza i granice tumačenja – tragom semiotike Umberta Eca","authors":"Ružica Pšihistal","doi":"10.29162/ANAFORA.V7I2.9","DOIUrl":"https://doi.org/10.29162/ANAFORA.V7I2.9","url":null,"abstract":"Čitatelju je Eco otvorio vrata još u predsemiotičkoj fazi (Opera aperta, 1962), a potom ga je i naslovom (Lector in fabula, 1979) smjestio u samo središte „priče“ o semiotici književnosti. Preuzevši Peirceov pojam neograničene semioze kao ključ za semiotičku otvorenost teksta, što posljedično otvara potencijalno neograničen broj interpretativnih pokušaja u ekspanziji značenja, Eco je gotovo skrupulozno zabrinut za pogrešna tumačenja semioze. Njegovo ustrajno zagovaranje suradničkoga odnosa čitatelja i teksta sve snažnije poprima oblik apologetskoga zalaganja za prava teksta i nužde ocrtavanja minimalnih granica tumačenja (The Limits of Interpretation, 1990). Potencijalno neograničena semioza, poučavao je Eco, ne vodi apsolutnoj slobodi čitatelja, ne znači da interpretacija nema kriterije i da sve interpretacije imaju happy end. Bio je to glas koji se nije čuo. Eksponencijalni rast čitateljskih „prava“ i „sloboda“ bio je nezaustavljiv u poststrukturalizmu. Zašto su dekonstrukcija i rodni studiji, kao primjeri isključujućih perspektiva (radikalne otvorenosti teksta prepuštenog neograničenoj semiozi / radikalne zatvorenosti teksta koji ima samo ono značenje koje je unaprijed zadano), prekršaji suradničkoga odnosa prema tekstu i This work is licensed under a Creative Commons Attribution 4.0 International License. Ovaj rad dostupan je za upotrebu pod licencom Creative Commons Imenovanje 4.0 međunarodna.","PeriodicalId":40415,"journal":{"name":"Anafora","volume":"7 1","pages":"477-501"},"PeriodicalIF":0.1,"publicationDate":"2020-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49246316","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}
Rad iščitava roman Charlesa Dickensa Teška vremena (1854) kroz prizmu problematike obrazovanja. U romanu se prikazuje racionalistički, pozitivistički, empirijski usmjeren obrazovni sustav koji se isključivo temelji na činjenicama i zabranjuje svaki oblik mašte ili umjetničkog rada i razmišljanja, a napose čitanje književnih djela. Prikazom sudbine likova (učenika Gradgrindove škole), propituje se opravdanost i učinkovitost takvog utilitaristički usmjerenog obrazovanja, dok se odgojem i odrastanjem Sissy Jupe, utemeljenom na humanističkim vrijednostima, prikazuje alternativa takvom obrazovnom procesu. U zaključku se ističe nužnost cjelovitog obrazovanja osobe kao društveno i moralno poželjnije alternative od obrazovanja radnika za tržište te se naglašava uloga književnosti i čitanja u procesu sazrijevanja, socijalizacije, razvoja empatije i samoaktualizacije.
这部作品通过对教育问题的承认，阅读了查尔斯·狄更斯在困难时期（1854年）的一部小说。在小说中，教育体系的理性主义、积极的、实证的取向，完全基于事实，禁止任何形式的想象或艺术作品和思维，并在书上写作。Prikazom sudbine likova（učenika Gradgrindoveškole），propituje se opravdanost i učinkovitost takvog utilitaristički usmjerenog obrazovanja，dok se odgojem i odrastanjem Sissy Jupe，utemeljenom na humanističkim vrijednostima，prikazuje alternativa takvom obrazovnom procsu。总之，文学和阅读在成长、社交、同理心发展和自我更新过程中的作用突出了对人进行全面教育的必要性，将其作为市场教育的社会和道德理想替代品。
{"title":"Teška vremena i humanističko obrazovanje. Tko danas uopće čita Dickensa?","authors":"Ljubica Matek","doi":"10.29162/ANAFORA.V7I2.8","DOIUrl":"https://doi.org/10.29162/ANAFORA.V7I2.8","url":null,"abstract":"Rad iščitava roman Charlesa Dickensa Teška vremena (1854) kroz prizmu problematike obrazovanja. U romanu se prikazuje racionalistički, pozitivistički, empirijski usmjeren obrazovni sustav koji se isključivo temelji na činjenicama i zabranjuje svaki oblik mašte ili umjetničkog rada i razmišljanja, a napose čitanje književnih djela. Prikazom sudbine likova (učenika Gradgrindove škole), propituje se opravdanost i učinkovitost takvog utilitaristički usmjerenog obrazovanja, dok se odgojem i odrastanjem Sissy Jupe, utemeljenom na humanističkim vrijednostima, prikazuje alternativa takvom obrazovnom procesu. U zaključku se ističe nužnost cjelovitog obrazovanja osobe kao društveno i moralno poželjnije alternative od obrazovanja radnika za tržište te se naglašava uloga književnosti i čitanja u procesu sazrijevanja, socijalizacije, razvoja empatije i samoaktualizacije.","PeriodicalId":40415,"journal":{"name":"Anafora","volume":"7 1","pages":"453-474"},"PeriodicalIF":0.1,"publicationDate":"2020-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42564685","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 članku se prvo analizira polemika između Ulricha von Wilamowitz-Möllendorffa i Friedricha Nietzschea nastala povodom objavljivanja Nietzscheove prve knjige Die Geburt der Tragödie aus dem Geiste der Musik (1872), a zatim i polemika između Waltera Jacksona Batea i Paula de Mana povodom objavljivanja Bateova članka The Crisis in English Studies. Iz spomenutih polemika nastoji se ocrtati osnovne smjernice u devetnaestostoljetnom i dvadesetostoljetnom razumijevanju filologije. Konačno, donosi se vlastito viđenje filologije iz vizure kršćanske tradicije, odnosno evanđeoske tvrdnje: καὶ ὁ λόγος σὰρξ ἐγένετο (Iv 1, 14).
Ulricha von Wilamowitz-Möllendorfa和Friedricha Nietzschea之间的小说的第一次分析是基于尼采的第一本书《悲剧的故事》（Die Geburt der TragöDie aus dem Geiste der Musik，1872）的出版，然后是Walter Jackson Bate和Paula de Mana之间的关于Bate的文章《英语研究的危机》的出版的小说。在这些领域中，人们试图绘制出19和20世纪哲学的主要指导方针。最后，从基督教传统或福音派主张的角度提出了一种哲学观点，如下所示：κα：80548001λί。
{"title":"Bilješka o filologiji","authors":"Krešimir Šimić","doi":"10.29162/ANAFORA.V7I2.7","DOIUrl":"https://doi.org/10.29162/ANAFORA.V7I2.7","url":null,"abstract":"U članku se prvo analizira polemika između Ulricha von Wilamowitz-Möllendorffa i Friedricha Nietzschea nastala povodom objavljivanja Nietzscheove prve knjige Die Geburt der Tragödie aus dem Geiste der Musik (1872), a zatim i polemika između Waltera Jacksona Batea i Paula de Mana povodom objavljivanja Bateova članka The Crisis in English Studies. Iz spomenutih polemika nastoji se ocrtati osnovne smjernice u devetnaestostoljetnom i dvadesetostoljetnom razumijevanju filologije. Konačno, donosi se vlastito viđenje filologije iz vizure kršćanske tradicije, odnosno evanđeoske tvrdnje: καὶ ὁ λόγος σὰρξ ἐγένετο (Iv 1, 14).","PeriodicalId":40415,"journal":{"name":"Anafora","volume":"7 1","pages":"425-450"},"PeriodicalIF":0.1,"publicationDate":"2020-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47108977","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：