Postmodern Literature

Postmodernism argues that historical reality is constructed by historians and the written documents they study, and that historical truth is shaped by and reflects the perspective of the historian. Conclusions are subjective and postmodernism encourage suspicion of hierarchy and claims to essential universal truths. Historians can never completely replicate or reconstruct the past, hence the need for deconstructionism. 1

Okumalar başlığı altında yaptığı bu keşif çalışması, günümüz çocuk kitaplarından Dede Korkut Hikâyelerine uzanan bir kazı yürütüyor. Bugün okuduğumuz çocuk edebiyatı metinlerinin kökenlerini 14. ve 15. yüzyılda Oğuz Türkçesiyle yazılmış anonim metinlere kadar götürüyor ve kopuk bir zincirin halkaları gibi saçılmış duran masalları kurduğu metinlerarası ilişkilerle, tesis ettiği anlatısal köprülerle yeniden birbirine bağlıyor. Kendi sözleriyle "Edebiyatın insanlığın var olduğu günden bugüne gelen bir zincir olduğunu" düşünen Günyüz'ün çalışması, bu alandaki akademik incelemelere anlamlı bir katkı sunma çabasıdır.

Przysługujący widmom wywrotowy, niemalże rewolucyjny potencjał został odsunięty oraz zagubiony poprzez pozbycie się tej kontrowersyjnej kategorii z terytorium metafizyki i zbyt pośpieszne odesłanie jej do przestrzeni badań nad literaturą, sprowadzając ją jedynie do roli użytecznego, bezpiecznego narzędzia interpretacji.

Książka Andrzeja Marca odzyskuje niepokojący charakter widmontologii i ponownie wprowadza widma do myśli metafizycznej. Czym nawiedzona i przeniknięta jest tradycyjna metafizyka, co właściwie ją dręczy, nie daje spokoju oraz nieustannie podmywa jej stabilność?

Kategoria widma Derridy posłużyła Marcowi przede wszystkim do rozważań nad charakterem współczesności i przeobrażeń, jakie dokonały się w obrębie myśli ponowoczesnej. Współczesna kultura, zdaniem Marca, stała się miejscem powstawania widm, nieustannie powracających z przeszłości. Uznając, że nie jesteśmy już w stanie tworzyć utopijnych wizji przyszłości, autor stara się zdać sprawę z widmowego charakteru współczesnej kultury, analizując m. in. strategie vintage, retro, nurt no future w kulturze lat 70. czy nurt fantastyki naukowej w literaturze.

[in French]
L’étude du fragment et de l’écriture fragmentaire s’est développée depuis quelques années, sans que pour autant des réponses consensuelles ne surgissent. Si cette pratique est devenue courante après la Seconde Guerre mondiale, elle a pourtant des pionniers. Dans l’univers francophone littéraire européen non français, Charles-Albert Cingria (Genève, 1883-1954) et Paul Nougé (Bruxelles, 1895-1967) sont deux auteurs représentatifs de cette modalité d’écriture, ayant introduit de nombreuses stratégies qui seraient explorées postérieurement. Se concentrant sur l’œuvre publiée et inédite des deux auteurs, la présente étude cherche à dégager les axes d’une pensée littéraire qui s’actualise en pratiques d’écriture fragmentaire, dans des espaces génologiques et thématiques de frontière. Dans ce cadre, le lecteur, expérimentant constamment la violence métamorphique textuelle, joue un rôle primordial.

[in English]
The study of the fragment and of fragmentary writing has increased in recent years. However, consensual answers have been difficult to find. If this practice has become regular since the Second World War, it certainly had precursors. In the francophone non French literary European world, Charles-Albert Cingria (Geneva, 1883-1954) and Paul Nougé (Brussels, 1895-1967) are two outstanding authors of this writing modality, who introduced several strategies that were subsequently to be developed. The present study, based in the published and unpublished work of both authors, aims to identify the guidelines of a literary conception materialised in practices of fragmentary writing, in generic and thematic spaces of frontier. Within this context, the reader, permanently experiencing metamorphic textual violence, plays a major role.

[in Portuguese]
O estudo do fragmento e da escrita fragmentária tem vindo a desenvolver-se nos últimos anos, sem que no entanto respostas consensuais apareçam. Se esta prática se tornou muito comum depois da Segunda Guerra Mundial, ela tem pioneiros. No universo literário francófono europeu não francês, Charles-Albert Cingria (Genebra, 1883-1954) e Paul Nougé (Bruxelas, 1895-1967) são autores marcantes desta prática de escrita, tendo introduzido várias estratégias que viriam a ser desenvolvidas posteriormente. Centrando-se na obra publicada e inédita dos dois autores, este estudo procura identificar as linhas mestras de um pensamento literário que se actualiza em práticas de escrita fragmentária, em espaços genológicos e temáticos de fronteira. Neste contexto, o leitor, experimentando permanentemente a violência metamórfica textual, assume um papel determinante.

Most critics of contemporary literature have reached a consensus that what was once called " postmodernism " is over and that its signature modes—metafiction and irony—are on the wane. This is not the case, however, with videogames. In recent years, a number of self-reflexive games have appeared, exemplified by Davey Wreden's The Stanley Parable (2013), an ironic game about games. When self-awareness migrates form print to screen, however, something happens. If metafiction can be characterized by how it draws attention to its materiality—the artificiality of language and the construction involved in acts of representation—The Stanley Parable draws attention to the digital, procedural materiality of videogames. Following the work of Alexander R. Galloway and Ian Bogost, I argue that the self-reflexivity of The Stanley Parable is best understood in terms of action and procedure, as metaproceduralism. This essay explores the legacies of United States metafiction in videogames, suggesting that though postmodernism might be over, its lessons are important to remember for confronting the complex digital realities of the twenty-first century. If irony may be ebbing in fiction, it has found a vital and necessary home in videogames and we underestimate its power to challenge the informatic, algorithmic logic of cultural production in the digital age to our detriment.

A portugál regény elismertsége és jelentősége egyre növekszik az utóbbi évtizedekben a globális világirodalmi térben. Az, hogy az európai kontinensen gazdaságilag és kulturálisan félperiferikusnak számító Portugália irodalma a 21. századra betagozódott a planetáris rendszerré szélesedő világirodalom diskurzusába, és annak komoly nemzetközi gyelemmel kísért elemévé vált, nemcsak a világirodalom fogalmának mélyreható átformálódásával és a perifériák irányába tanúsított fokozott érzékenységgel hozható összefüggésbe, hanem egyúttal magának a portugál prózának a fejlődésével, diverzi kálódásával és átalakulásával is magyarázható. Az új évezred tehát komoly változást hozott el egyfelől a portugál irodalom szerkezetében, másfelől pedig a világirodalom és a portugál irodalom viszonyában, hiszen Portugáliának végre sikerült kiszakítani magát a több évszázados kulturális elszigeteltségből és beilleszkednie a kulturális cserefolyamatok globalizált rendjébe. 1 Ahhoz, hogy értelmezni tudjuk a portugál regény beépülését a nemzetközi irodalmi körforgásba, elengedhetetlennek tűnik egyrészről a portugál prózairodalom fejlődéstörténetének rövid áttekintése az utóbbi évtizedek tükrében, másrészről pedig a kortárs portugál regény néhány jellegzetességének számbavétele -jelen írásban ezekre teszek kísérletet. A portugál próza szerkezetváltásainak végigkövetése után Gonçalo M. Tavares szövegein keresztül mutatom be a kortárs portugál regény sajátos világát. Tavares, amellett, hogy a 21. századi portugál prózairodalom kiemelt és nagy hatású szerzője, akinek könyveiben paradigmatikus módon jelennek meg a kortárs portugál regény poétikájának és politikájának sajátosságai, jelenleg a nemzetközileg leginkább beágyazott és olvasott portugál író, műveit több mint harminc nyelvre lefordították, Jeruzsálem című regénye bekerült a 2012-es kánonalkotó jellegű 1001 Books You Must Read Before You Die reprezentatív válogatásába, nevét 1 Earl F , Internationalizing the Literature of the Portuguese-Speaking World, Hispania 85.

S’il est vrai, comme plusieurs études on essayé de le montrer, que la production narrative (romanesque et filmique) du postmoderne italien est caractérisée par un retour à l’impegno, même d’une manière différente par rapport au concept d’ « engagement » de l’après-guerre, il faudra placer les romans de Giorgio Vasta dans ce même domaine, en reconnaissant pourtant toute leur spécificité. Dans Il tempo materiale (2008), le retour aux années Soixante-dix, et spécifiquement à l’ « affaire Moro », permet de récupérer métaphoriquement la dernière leçon de l’engagement intellectuel (surtout celui d’Arbasino et Sciascia), pour la projeter sur la condition du temps présent. Cependant, si les autres narrations contemporaines  qui se sont confronté sur le thème des «année de plomb» et du terrorisme (Ballestra, 2009 ; Giordana, 2003 et 2012) en ont relevé un caractère de quelque sorte énigmatique et irrésoluble, Vasta y trouve au contraire la première, épatante manifestation d’une maladie qui affecte encore le temps présent et qu’on pourrait définir, avec Arbasino, «afasia del Pratico». Il s’agit d’une maladie qui concerne en premier lieu le langage : celui qui les enfants-terroristes de Il tempo materiale essayent naïvement de révolutionner en parodiant les expressions typiques de la nouvelle civilisation médiatique, mais aussi celui que le « moi » autofictif protagoniste de Spaesamento (2011) retrouve inscrit dans toutes les manifestations de la société contemporaine, spectaculaire et « ironique ».
La langue définit la forme du monde où l’homme habite. C’est pour ça que l’impegno se doit caractériser par un travail de « re-alphabétisation » de l’homme, commençant au niveau de l’invention des histoires pour arriver jusqu’à la modification du langage de la vie quotidienne, autant privée que publique. De cette manière, Vasta propose un parcours pour retrouver un contact avec la réalité demeurant muette derrière les mots stéréotypés et vides qui la racontent au présent ; mais aussi pour sortir de ce paradigme postmoderne dans lequel, tout d’abord, sa narration semblait s’insérer.

"Chez Beckett, l’écriture articule intimement la dimension esthétique à l’implication subjective du créateur. Dans le premier volume de la Série, nous avons abordé certains aspects de l’impulsion créatrice de Beckett. Dans ce deuxième volume, nous situons des effets esthétiques au sein d’une triangulation structurante. D’abord, la parole, et le silence qui l’excède. Ensuite l’image, avec le regard qui sous-tend le visible. Ces deux faces se nouent enfin à l’endroit où l’écriture s’éprouve dans l’irréductible matérialité du corps.


In Beckett’s work, the aesthetic dimension is intimately bound up with the subjective involvement of the creator. The first volume of the Series dealt with aspects of the creative impulse. This second volume situates aesthetic effects in a structuring triangle. First, speech in relation to silence that exceeds it. Then the image, with the gaze that underlies the visible. These two faces come together in the point where writing is experienced in the fundamentally material nature of the body."

Yves Navarre's literary work is one of the greatest materialisations of epistolary writing in postmodern literature. This article aims to analyse the different elements and procedures through which the epistolary matter becomes a practice of postmodern writing that continues to evolve throughout his prolix literary oeuvre. First, the epistolary writing of fictional characters becomes an element of the renarrativisation that participates in processes of discontinuity: a progressive fragmental writing-from his first novel Lady Black (1971) to the last Dernier dimanche avant la fin du siècle (1994)-and the hybridisation with diaristic writing and literary metadiscourse-Le Petit Galopin de nos corps (1977), Kurwenal ou la Part des êtres (1977), Le Temps voulu (1979), Romances sans paroles (1982). Besides, these same practices are brought into the autofictional space, where the possibilities of hypertextuality are further deepened by quotation, intertext and metadiscourse-Biographie (1981), Romans, un roman (1988). Finally, the two spaces converge in an auto/alter-fiction in which postmodern diversel materialises through experimentation with alterity, giving rise to récits indécidables-L'Espérance de beaux voyages (1984), La terrasse des audiences au moment de l'adieu (1990). Throughout his entire literary work, and in all the aforementioned spaces, the abundant metadiscourse about epistolarity allows to draw a sort of postmodern phenomenology of epistolary activity.

Juxtaposing two of the most familiar young adult literary characters, this paper tries to read the comparison between the two characters of two different periods with different backgrounds. Both these characters show a few common character traits, such as-loneliness, shyness, and post-traumatic stress disorder, to name a few. This paper tends to explore the connection between the nature of their respective traumatic youths through the lens of Freudian psychoanalysis. Holden and Charlie are two conjoined characters linked by their aloofness and oddities-this very paper puts an effort to understand why they want to 'observe the world' rather than 'participate actively.'Finally, this paper delves into inquiring if these traumatic youths represent the universal condition of the struggling youngsters and their self-inflicted ostracism from society.

Many critics of Doctorow have classified him as a postmodernist writer, acknowledging that a wide number of thematic and stylistic features of his early fiction emanate from the postmodern context in which he took his first steps as a writer. Yet, these novels have an eminently social and ethical scope that may be best perceived in their intellectual engagement and support of feminist concerns. This is certainly the case of Doctorow’s fourth and most successful novel, Ragtime. The purpose of this paper will be two-fold. I will explore Ragtime’s indebtedness to postmodern aesthetics and themes, but also its feminist elements. Thus, on the one hand, I will focus on issues of uncertainty, indeterminacy of meaning, plurality and decentering of subjectivity; on the other hand, I will examine the novel’s attitude towards gender oppression, violence and objectification, its denunciation of hegemonic gender configurations and its voicing of certain feminist demands. This analysis will lead to an examination of the problematic collusion of the mostly white, male, patriarchal aesthetics of postmodernism and feminist politics in the novel. I will attempt to establish how these two traditionally conflicting modes coexist and interact in Ragtime.

Firstly, I want to establish the importance of animals and the question of the species boundary in 'othering' and racism. Secondly, I offer three (not mutually exclusive) kinds of political (and/or) popular objections that have been raisted against considering animals and speciesism - that is, some of the political difficulties involved in pursuing this topic in post-colonial contexts. Thirdly, I focus on the question of representation, and the ways in which two post-colonial writers from Canada and Australia have tackled the issue of the species boundary and speciesism. I am concerned with both the animal and animalistic, that is, with actual animals and the Western human symbolic economies within which they are more or less forced to more or less exits.

RESUMO

Este artigo tem como objetivo principal analisar e refletir sobre algumas características da lírica contemporânea, praticadas em Portugal e no Brasil. A partir de definições teóricas de pensadores como Giorgio Agamben e Octávio Paz a respeito da possível diferenciação entre o que se entende por modernismo e por movimento pós-moderno, busca-se, inicialmente, definir o empreendimento do Pós-Modernismo, bem como analisar sua relação com os movimentos modernistas, imediatamente anteriores a ele. Em seguida, analisam-se alguns poemas de autores como Ana Luisa Amaral e José Tolentino, entre os poetas portugueses, e Paulo Henriques Britto e Nuno Ramos, entre os artistas brasileiros, procurando tanto traços distintivos quanto de possíveis semelhanças. Podem-se ver rupturas que dialogam com a lírica que absorve e, ao mesmo tempo, desintegra a realidade do mundo, fazendo recombinações para a produção artística da poesia. Assim, nas vertentes de entendimento do que é poema moderno ou poema pós-moderno, encontra-se a escritura poética que se expressa desafiantemente com suas características.

RESUMEN

Este artículo tiene como objetivo analizar y reflexionar sobre algunas características de la poesía contemporánea, practicada en Portugal y em Brasil. A partir de las definiciones teóricas de pensadores como Giorgio Agamben y Octavio Paz sobre la posible diferenciación entre lo que se entiende por el modernismo y el movimiento post-moderno, trata de establecer inicialmente el desarrollo de la Postmodernidad y analizar su relación con los movimientos modernistas inmediatamente anteriores a la
misma. A continuación se analizan algunos poemas de autores como Ana Luisa Amaral y José Tolentino, entre los poetas portugueses, y Paulo Henriques Britto y Nuno Ramos, entre los artistas brasileños, en busca de los dos rasgos distintivos como posibles similitudes. Se puede ver que el diálogo se rompe con la letra que absorbe mientras se desintegra la realidad del mundo, causando recombinaciones a la producción artística de la poesía. Por lo tanto, en las áreas de comprensión de lo que es moderno o posmoderno poema es la escritura poética que se expresa
desafiante con sus características.

One of the most prominent and most frequently cited characteristics of postmodernist intellectual production is intertextuality. The interdependence of all texts in the broader sense of the word, meaning all symbolic products, consciously manifests itself in the structure of the texts themselves and is indeed often one of their most salient features. As a result of this, it has become not only useful but crucial, when interpreting texts and even in order to understand them on a basic level, to be acquainted with a relatively large number of other texts, sometimes very specific ones (cf. Lešić 2003: 35-36).

Lässt sich die politische Problemlage unserer Zeit literarisch erfassen? Was ist die Rolle von Literatur im globalen Kapitalismus? Lässt sich ein dauerhafter Arbeitszusammenhang von Autorinnen und Autoren organisieren? Diesen Fragen widmete sich im April 2015 eine Schriftstellertagung unter dem Titel „Richtige Literatur im Falschen?“, die im Literaturforum im Brecht-Haus stattfand. In Zentrum stand die Frage nach dem Verhältnis zwischen Literatur, Engagement und kapitalistischer Gesellschaft. Der Band „Richtige Literatur im Falschen?“ zeichnet die Tagung dokumentarisch nach und präsentiert darüber hinaus aktuelle Statements der Beteiligten. Mit Beiträgen von Ann Cotten, Annett Gröschner, Joachim Helfer, Jan Loheit, Thomas Meinecke, Norbert Niemann, Helmut Peitsch, Monika Rinck, Kathrin Röggla, David Salomon, Stefan Schmitzer, Erasmus Schöfer, Ingo Schulze, Ingar Solty, Enno Stahl, Thomas Wagner, Michael Wildenhain und Raul Zelik.

Hablar de poesía en estos tiempos que nos acechan resulta un tanto pueril quizá irrisorio, pensar en la poesía como lugar de escape a tierras prometidas, a lugares inhóspitos donde ocultarse, a sitios ficticios y perfectos no deja de ser una utopía, necesaria, no lo neguemos, pero que actualmente, tiene mucho en qué distanciarse y mucho que echar en cara a esa noción tradicional de POESÍA. La poesía hace tiempo que ha dejado de ser ese refugio lírico, al menos lingüístico, la poesía siempre protege y acoge, la poesía se traduce como esos versos becquerianos de «poesía eres tú» o los más tardíos de Darío «la princesa está triste qué tendrá la princesa». Pero si comparamos con estos de Ángel González:

Resumen
Muchos creadores, a lo largo de la historia, se han sumergido en un ámbito oscuro y trasgresor; las pinturas negras y la trágica serie "Los desastres de la guerra", de Goya; los seres metamorfoseados y devorados en un violento acto sexual de Picasso; el mundo oscuro y árido dibujado por A. Kubin; Francis Bacon, a través de desnudos deformes e incoherentes, sangrientos y deshuesados; el mundo caótico y viscoso de David Lynch con criaturas que fluctúan cambiando su anatomía, amorfas y monstruosas (Eraserhead). Tod Browning, que presenta un circo repleto de seres con deformaciones espeluznantes que la misma naturaleza ha creado (Freaks). Lo extremo, lo abyecto, lo grotesco y lo monstruoso, son características que muchos artistas han izado como bandera de su trabajo. Desde los violentos desajustes picassianos a las hinchazones de Dobuffer, las mutilaciones y las laceraciones de De Kooning, el grupo Cobra y seguidores como Saura, los alargamientos de Giacometti o los sutiles desajustes entre forma y color de Léger y de Warhol, por no mencionar los hirientes trazados de Beuys, se podría establecer una catalogación de todas las violencias a las cuales el artista ha sometido a lo real en el momento de representarlo.
Dr. Adolfo Vasquez Rocca

During the early 1980s, most Latin American countries were slowly returning to democracy after years of brutal military regimes. Whereas the most distinctive trend of the 1960s and 1970s was the uprising of a wide variety of guerrilla movements and a series of violent military coups (from Peru in 1968 to Argentina and Ecuador in 1976), the main characteristic of the 1980s was a "newly minted faith in democratic values" (Sarlo, 1984) that could bring justice, social peace, and individual rights to states whose public spheres had completely collapsed and whose economies were in a shambles. In 1984, during his successful presidential campaign, Raúl Alfonsín (Argentina, 1927-) summarized this feeling in the slogan: "With democracy, one lives, one eats, one educates, one works." Despite its naïveté, the statement illustrated how democracy seemed to offer a political alternative that would bring transparency to the political process, and allow for economic projects based on a certain level of social consensus.

In tempi di storytelling imperante e di “narratività diffusa”, questo libro vorrebbe essere un rapido prontuario per capire come le trame si costruiscono, si articolano e si evolvono nella storia del romanzo. Un percorso attraverso i generi e le opere che hanno fornito i modelli all’immaginario narrativo occidentale permette di vedere come nel corso dei secoli gli scrittori – da Cervantes a Sterne, da Balzac a Verga, da Joyce a De Lillo – si sono interrogati sugli espedienti da adottare per avvincere i lettori ai propri racconti. Comprendere le strategie retoriche e le istanze conoscitive attraverso cui la passione della scrittura si trasforma in passione della lettura significa capire in che modo la parola romanzesca possa continuare a marcare la propria presenza nel mondo contemporaneo.

Lange galt unzuverlässiges Erzählen als Sonderfall homodiegetischen Erzählens, was erst jüngst hinterfragt
wurde. Der Artikel zeigt, dass die ontologische Klassifizierung nach Genette zu kurz greift.
Unzuverlässigkeit scheint in der Heterodiegese besonders bei unzuverlässigen Reflektoren oder als
mimetische Unzuverlässigkeit möglich. Dazu ist insbesondere die Perspektive des Erzählers zu untersuchen.
Am Beispiel von Kehlmanns historischem Roman Tyll kann gezeigt werden, dass auch Gattungsvorgaben
das Spiel mit unzuverlässigem Erzählen grundieren. Tyll erscheint als Spiel mit erzählerischer
Unzuverlässigkeit.
It was only recently that narratology opened itself for the possibility of heterodiegetic unreliable narration.
This article argues that Genette’s ontological criteria of homo- and heterodiegesis fall short with
regards to unreliable narration. Heterodiegetic narration seems susceptible to (mimetic) unreliability
particularly when internal and even zero focalization are used. The narrator’s perspective is of particular
interest here. Daniel Kehlmann’s 2017 historical novel Tyll is a perfect example for heterodiegetic unreliable
narration that not only plays with various strategies of unreliability but also calls into question
the generic implications of the historical novel as means to represent history.

The power and intimacy of Wallace's voices allow him to affect his readers powerfully on multiple levels: cognitively, linguistically, and affectively. But how? The Voices of David Foster Wallace: Comic, Encyclopedic, and Sincere offers a systematic analysis of Wallace's poetics of voice. I focus on Wallace's three novels, identifying a dominant voice for each, pinpointing its techniques and intertextual origins, and casting it in a career arc of Wallace's evolving novelistic purposes.

En Postmodernist Fiction Brian McHale defendía un acercamiento entre la ciencia ficción y la narrativa posmoderna. Mientras que la novela posmo­derna toma topos de la ciencia ficción, la ciencia ficción usa herramientas narrativas de la posmodernidad. Tanto Slaughterhouse-Five, de Kurt Vonnegut, como Dying Inside, de Robert Silverberg, reflejan esa conver­gencia. Además, la imbricación también aparece en las letras españolas, como demuestran los análisis de El mundo en la era de Varick , de Andrés Ibáñez, y de Lágrimas de luz, de Rafael Marín.

A study of the limits of multilingual literary expression in print culture. Beginning with the insight that multilingual literature defies simple translation, Brian Lennon examines the resistance multilingual literature offers to book publication. Looking closely at the limit of multilingual literary expression and the literary journalism, criticism, and scholarship that comments on multilingual work, In Babel’s Shadow presents a critical reflection on the fate of literature in a world gripped by the crisis of globalization.

摘要

      魏德聖導演的《賽德克‧ 巴萊》是一部探討霧社事件的影片，描繪
賽德克族遭受日本殖民政府壓迫並起而反抗，由於處理的是真實歷史素
材，自然引發多方討論，其中尤以莫那‧ 魯道的英雄形象備受爭議。筆
者認為重點不在質問莫那‧ 魯道究竟是個英雄或歷史罪人，而應聚焦在
探問霧社事件究竟開啟了何種域外（不）可思考的空間，供我們思索魏德
聖透過此象徵人物所帶出的可能意涵與對當代的意義。本文援引德勒茲
的死亡與渾沌宇宙概念，企圖探討血祭祖靈的死亡儀式如何幫助族人突
破殖民秩序，進入祖靈生命並脫離同一性。若我們將死亡當作一個「無
人稱事件」，並且將莫那‧ 魯道視為一個「概念性人物」，我們將進到一
個無人稱的潛態宇宙。潛態宇宙並不會抹煞個體性，而是允許每一個肉
身化死亡的個體都有機會成為概念性人物，共同進入潛態宇宙的生命之
流。賽德克人的反抗是重大事件，特別能將個體推向潛態宇宙，同時結
合秩序的反面，也就是渾沌，形成「渾沌宇宙」。德勒茲的渾沌宇宙概念
幫助我們理解族人如何含納與表達歧異，形成獨特的自我特異性。族人
從渾沌借取武器對抗日本殖民秩序，期望能達到情感與政治的連結。這
時死亡代表不可思考的渾沌失序力量，幫助族人脫離被化約成野蠻「非
人」的命運，成為「賽德克‧ 巴萊」──真正的人。反抗使個體進入潛
態，飛掠於現實化之上，成為既是你我他，亦非你我他的潛態／現實雙
面體。每一個有覺知的個體所表達出的巴洛克視域綻放為如水晶結晶般
獨一無二的朵朵緋櫻。

關鍵詞：《賽德克‧ 巴萊》，莫那‧ 魯道，霧社事件，死亡，渾沌宇宙，無人稱事件，祖靈之家，概念性人物

U radu se analiziraju suvremeni hrvatski romani obilježeni destrukcijom pripovjedne linearnosti, pri čemu se naglasak u analizama romana stavlja na fabulu. Najprije se teorijski razmatra žanr romana, njegovi konstitutivni elementi te, konačno, fabula i načini gradbe, a zatim
se u analiziranim romanima fokusira na destruiranost njihove fabule te njoj bliskih elemenata: gradbu, likove, pripovjedače, prostor, vrijeme i žanr. Ukazuje se na posljedične povezanosti destruiranja pojedinih elemenata te pokušava prikazati kako to utječe na linearnost naracije. Analizirani su romani Šest smrti Veronike Grabar Lj. Domić, Kutija žigica V. Bobana, Balade o Josipu M. Stojevića, Bizarij J. Horvat i Viljevo L. Bekavca.

For the last three years I have been working on my current book project, which is titled Ireland, the Irish, and the Rise of Biofiction. I am nearly finished with a full draft, and I just completed my introduction. If any of you have time to read it, and it is short, here is what I would like to know. One, is the introduction clear? In other words, based on the introduction, do you get a clear sense of what I intend to argue in the book? Second, does it make you want to read the book? Put differently, does it sound like the book would be worth reading? I will be immensely grateful for any feedback.

“Nowe przygody Królewny Śnieżki. Donald Barthelme i jego szalona bajka” (“New Adventures of Snow White. Donald Barthelme and His Fairy Tale Gone Mad”), afterword to the Polish edition of Donald Barthelme, Królewna Śnieżka (Snow White), Poznań: Dom Wydawniczy Rebis, 1999, pp. 194-201.
“Nowe przygody Królewny Śnieżki. Donald Barthelme i jego szalona bajka” (“New Adventures of Snow White. Donald Barthelme and His Fairy Tale Gone Mad”), posłowie tłumacza do Donald Barthelme, Królewna Śnieżka (Snow White), Poznań: Dom Wydawniczy Rebis, 1999, pp. 194-201.

Shuffle narratives (a term coined by Zuzana Husárová and Nick Monfort to refer to narratives meant to be physically shuffled and read nonlinearly) are by no means new: scholars are usually prompt to quote BS Johnson’s The Unfortunates and Marc Saporta’s Composition No. 1 as the two seminal works of this niche genre. However, many other shuffle narratives have been produced in the 21st century, such as Jedediah Berry’s The Family Arcana, Eric Zimmerman and Nancy Nowacek’s Life in the Garden or Robert Coover’s “Heart Suit”; there have also been experiments of a similar sort in comics (most notably with Chris Ware’s Building Stories) and in digital literature (Visual Editions’ adaptation of Saporta’s novel or Tom Phillips’s adaptation of A Humument).
In this talk, I want to study both the materiality of such texts as well as their modalities of reading, focusing on what it means to produce shuffle narratives in today’s literary landscape. I will present the different ways a narrative can be shuffled and the formats and mediums it imitates in doing so: from the card game to the oracle to the puzzle, shuffling a story can have different intents and frame the narrative in different ways, prompting the reader to stitch the text in a certain way. The reconstructive role of the reader also differs depending on the medium, especially since interpretative reading already plays a very important role in conventional comic books. Finally, shuffle narratives also question several notions taken for granted in the structure of a narrative, such as beginnings and endings, not to mention the division of a text into paragraphs and chapters.
This study of shuffle narratives therefore aims to shed new light on an ever-expanding genre, which helps us to better understand how tension and narrative progression are encoded within a text and how complex really is the process of reading which we tend to take for granted.

An experimental narrative which adapts elements of Surrealist and German Expressionist film to a written piece about creation, persistence and sacrifice. The intention is for the reader to decide how or if the fragmented parts relate to each other. Available at: http://www.meniscus.org.au/Vol6Iss1-1.pdf

This paper focuses on the ambiguous status of the half-chapter in Julian Barnes’ novel A History of the World in 10½ Chapters (1989). “Parenthesis” stands in contradistinction to the other ten chapters in that it offers a concerted riposte to the provisionality of postmodern history by installing love as a structuring logic by which the terrifying randomness of the past can be negotiated. Much of the distinctiveness of “Parenthesis” derives from the intrusion of an authorial-narratorial figuration of Julian Barnes which, it is argued, lends the half-chapter a degree of authorial privilege and narrative stability that is not evident elsewhere. By reading the ‘honesty’ of Barnes’ discourse on love as a postmodern strategy of seduction, it is claimed that the redemptive potential of love as a way of making meaning from chaos is compromised. To recognise this is to face the prospect that Barnes lulls his reader into believing that “Parenthesis” offers an escape from the scepticism of postmodernism only to confront them with their own naïve desire for order in narrative as in history.

This essay compares Thomas Pynchon's "Gravity's Rainbow" and Don DeLillo's "Underworld," by tracking the evolution of paranoia as a cultural pathology typical of the U.S.A. during the second half of the Twentieth century. By deconstructing the popular language of conspiracy theories, both novels testify to the passage from the polarized - and strategic - plot enforced during the Cold War, to a constant state of ironic and self-conscious "dietrologia" in the Nineties. In different ways Pynchon and DeLillo underline the loss of subjectivity in an age characterized by systems so complex that they defy any attempt to attribute individual responsibilities.

En este trabajo se reflexiona en torno a los complejos universos narrativos de la trilogía juvenil escrita por Cecilia Eudave y compuesta por La criatura del espejo, El enigma de la esfera y Pesadillas a mediodía. Tres novelas protagonizadas por la doctora Julia Dench, psicóloga experta en casos paranormales, que se adentra en los misteriosos territorios del alma adolescente mientras batalla con sus propios fantasmas y demonios. Los juegos de alegorías y las perspectivas de construcción de realidades desde lo fantástico, el terror o lo inusual se activan en estas novelas en las que emergen todos los mecanismos narrativos eudavianos.