Narratology and Its Discontents: Narrating Beyond Narration

2 Narratology and Its Discontents: Narrating beyond Narration

2017 International conference Narratology and Its Discontents: Narrating beyond Narration Rationale Academy of Dramatic Art, University of Zagreb April 6th–8th 2017 Zagreb, Croatia http://artandscienceresearch.hr/our-seminars- workshops-conferences/narratology-and-its- discontents-narrating-beyond-narration/

The scope of this Conference is intended to represent a wide range of top- Organizer: ics related to the study of logic and principles of narrative production, but Academy of Dramatic Art, also to “postclassical” narratology that goes beyond its structuralist back- Department of Dramaturgy http://dramaturgija.adu.hr/ ground, focusing on the ways that narrative structures our perception of social and cultural phenomena and helps us construct meaning in general. Organizing committee: We are interested in the contextuality of the modes of narrative rep- Prof. dr. Sibila Petlevski Prof. dr. Saša Vojković resentation, in its historicity, and in its pragmatic and artistic functions Lela Šupek across different media. Ljubica Anđelković Džambić What is relevant is the philosophy of action in the theory of narrative, Goran Pavlić in the narrative as communication, in cross-cultural narration, in cognitive Production assistants: theory of narrative acts, and the concept of performativity in narratology Tajana Bakota connected to the embodied ways of knowing. Romana Brajša A narrative explanation in science and knowledge transfer in education is Visual identity, abstract also examined, and in a whole range of other topics that transform narrato- book design and lay-out: logical study into a plethora of different, often interdisciplinary, mixed-meth- Rafaela Dražić od research approaches. Print: Our special guest is a Dutch cultural theorist, critic, video artist and Zelina filmmaker. Mieke Bal. Hence, the motto of our conference is taken from Mieke Bal’s thesis on the use of narratology for cultural analysis where she defines narrative as a cultural attitude, and narratology as a perspective on culture. “What I propose we are best off with in the age of cultural studies is a conception of narratology that implicates text and reading, subject and object, production and analysis, in the act of understanding. In other words, I advocate a narrative theory that enables the differentiation of the place of narrative in any cultural expression without privileging any medium, mode, or use; that differentiates its relative importance and the

The conference “Narratology and Its Discontents: effect of the narrative (segments) on the remainder of the object as well Narrating beyond Narration” is part of the scientific as on the reader, listener, viewer. A theory, that is, which defines and de- project “How Practice-led Research in Artistic scribes narrativity, not narrative; not a genre or object but a cultural mode Performance Can Contribute to Croatian Science” (IP-2014-09-6963), supported by Croatian of expression.” (Bal, Narratology: Introduction to the Theory of Narrative, Science Foundation. Second Edition, 1997: 222) Topics to be discussed include:

Classical and Postclassical Narratology Narrating Film: Narration and Reconstruction of Subjectivity Performing Narrative in Contemporary Performance Practice and in Daily Life Narrative Performance and Its Aesthetics Beyond Mimetic Models: Unnatural Narratology “Denarration” and Extreme Narration in Contemporary Drama and Fiction Transmedial Storytelling Narrative through Nonlinguistic Media Narrative and Digital Media Conversational Storytelling Orality and Narration Cyberspace Textuality Narration and Memory Documentary Storytelling and its (Un)Reliable Narrators Narrating Violence and Trauma Visual narratives; Narrative in contemporary visual practice The Fine Art of Storytelling and Narration in the Fine Art Cross-cultural Narration and Migrating Selves Narrative and Embodied Knowing in Dance and Performance Program Narrative and Ideology Political Narratives Cognitive Narratology: Narrative Thinking, Stories and Minds Narration in Science – Narration or Science?

The conference takes place at the Academy of Dramatic Art in Zagreb, Frankopanska 22, in the F22 hall. Wednesday, April 5th Thursday, April 6th

Lidija Fištrek: 18.00 Film screening 9.00 Introductory words Sibila Petlevski, Saša Vojković Stelarc and the Posthuman Body Reasonable Doubt (2015) Performance in Contemporary Art d. Mieke Bal; 98 min. Keynote lecture Mieke Bal: Ana Fazekaš: In the Absence of Post- Auto/Biography of Hurt: Representation & Representability of Rape in 10.30 Presentations Feminist Performance Art

Mario Vrbančić: In Shower with Hitchcock: 13.30 – 15.00 Film Narration and Theatricality Lunch Break of Camera 15.00 Presentations Božena Pandža-Mandurić: Holocaust in Film and Book: Mona Khattab: Narratology In Selected Works Narrating Walls: of Holocaust through the Scope Visual Narratives of Graffiti of Film and Literature from the Egyptian Revolution

Boris Ružić: Mersiha Ismajloska: Lost in Narration: Lewis Carroll’s Alice, from Protests, New Media and John Tenniel to Salvador Dali the Absent Storyteller and further

Marijan Tucaković: 11.30 Presentations Narration through Performance: Embodiment of Pianism Hrvoje Turković: and Conducting ‘Norm of Visibility’ vs. ‘Norm of Invisibility’ in 16.00 Presentations Classical Film Narration Amra Memić: Saša Vojković: Structural Presentation of The Humanist Vision in Dramatic Time in the Neo- Neorealist Films: Circularity Historical Political Theatre of Influences in World Cinema Leo Rafolt: Mario Slugan: Performing Oppression The Lecturer as the Earliest (Narrative): Freire, Boal, Gutiérrez Controlling Fictional Narrator in Cinema Goran Pavlić: Narrating the Political Self 12.30 Presentations 18.00 Film screening Una Bauer: Collaboratively Scripted Madame B (2013) Performances of Life Events d. Mieke Bal and Michelle Williams Gamaker; 96 min. Friday, April 7th Saturday, April 8th

Vladimir Cerić: Senka Božić-Vrbančić: 9.00 Keynote lectureS 9.00 Keynote lecture Space and Storyworld Narrative and Compassion: Jeremy Lawrance: in Epic Fantasy Josette Féral: Heteronormativity, Citizenship Memory and Trauma among The Return of Meta-Narratives and the Role of Feelings Exiled Sephardim: A Curious Katarina Damčević: Edition of Targum Shir Ha-Shirim Communicating Polyamory 10.00 Presentations 13.00 – 14.30 (Salonika 1600) through Obscene Language Lunch break Dunja Plazonja:

Stefan Iversen: 13.30 – 15.00 Narrative and Myth: Giving Voice 14.30 Presentations Immersion and Defamiliarization Lunch break to Penelope in Margaret Atwood’s Christian Stenico: in Unnatural Narratives The Penelopiad 15.00 Presentations Narrative Authority Ivana Buljubašić: and Audience Expectation in 10.30 Presentations Lianna Mark: Paratext in Narratology and Its Podcast Storytelling Mischa Twitchin: “The Discourse of [Staged] Usage in Fiction “The Mirror and the Corpse…”: Narrative”: Caryl Churchill’s Ivana Zovko: Some Reflections on the Phantasm Escaped Alone Nina Dujmović: Yo soy una puta verbal: of the Subject Maupassant – An Analysis Attitudinal Positioning in Anđela Vidović: Malena Pichot’s Video Sreelakshmi Surendran: Twists and Turns in Narrating 11.00 Presentations Blog Performance The Kathasaritsagara: Violence: From Booming ‘90s A Telling Text to Conformist ‘00s Corrina Jerkin: Dijana Protić: The Translator’s Voice in the Exploring of the Narratives in Ofer Peres: Andrea Fenice: Paratexts of Huck Finn in Croatian the Multimedia Performance and The Weeping King and the Nymph: That Elusive Thing – Exhibition Cathedral (1988) South Indian Strategies of Rhythm in Narration and Nada Kujundžić: Narrative Adaptation Why Is It often Overlooked Narrative Space in the Grimms’ 15.30 Presentations Fairy Tales: The Case of Presentations Marijana Jančeska: 11.30 Presentations 16.00 “The Frog King” The Political Narration Sibila Petlevski: Ljubica Anđelković Džambić: Lucia Leman: in the Macedonian Historiographic Narration Narrating the Self in Facing The Narratology of Illyrian Governmental Commercials: and (Post)Narrativist Philosophy Personal Trauma through Art: Discontent – The Tale of the How did the Television Cheat of History artist Satan Panonski Occidental Other from The Reality? Byron to Bregović Olga Markič: Jurga Jonutyte: Željko Luketić: Narrative as a Tool for Sense Telling and Re-telling: Reasons 12.00 Presentations Your Face Sounds Bigoted: Making: From Folk Psychology of Conflicts in the Narratives Cross-dressing and Low Camp to Science of the Past Eva Simčić: Narrative of Croatian These Violent Delights Have Television Shows Boris Kožnjak: Mario Županović: Violent Ends: Intermental Mind Narrative in Science: Informative Narrating Trauma in Latin in Westworld Iva-Matija Bitanga: and Formative Aspects American Women’s Cinema Ganga Museum Nataša Govedić: Film screening 12.30 Presentations 18.00 Female Coriolanus, Her Desire Iris Šmidt Pelajić: and Indestructible Dialogue in The Grimms’ Fairytales’ Mirela Holy, Mary Geiger Zeman, A Long History of Madness (2011) Von Trier’s Nymphomaniac New Clothes Zdenko Zeman: d. Mieke Bal and Michelle Williams Facts and Fiction in the Gamaker; 120 min. 17.00 Closing words Communication Environment of Sibila Petlevski, Saša Vojković the Brave “Wild” World 12–15 Movies

16–20 Keynote

21–79 Lectures 14 Wednesday, April 5th, 18.00, F22 hall 15

Reasonable Doubt 2015 | 98 min | Color | theoretical fiction / docudrama By Mieke Bal

“Whenever anyone has offended me, I try ject of creating an Academy that would to raise my soul so high that the offense put Sweden’s intellectual elite on the cannot reach it.” European map. But in the chilly palace René Descartes to Princess he caught a flu that deteriorated into Elisabeth of Bohemia pneumonia, and he passed away. He Movies left Western thought with a burden and a treasure. The burden: a misconstrued “If the universe is so vast as you say, dualistic tradition that he really cannot then Man himself can be of no great be blamed for. In my view, he accepted importance within it.” the dualism of the Catholic Church, but Queen Kristina to Descartes fought against it all his life because it was not reasonable. The treasure: a decisive advance in rational thought that, precise- My aim in this project was to present a ly, did not excise the body; nor religion Descartes different from the reductive for that matter, as later Enlightenment clichés about him, especially in relation thought would carry it on. The dialecti- to Queen Kristina. This is not a biography cal relationship between reason and a but a series of scenes that constitute a certain kind of madness was not enough double portrait. recognized. Through this project I want to The great French philosopher René suggest that reason and “madness” can Descartes died in Stockholm, as a conse- go very well together. quence of the insistence of young Swed- ish Queen Kristina that he visit her, a bit against his will. Once there, they didn’t see each other much. Although Kristi- na’s philosophical interest was genuine enough, he was more or less there in a decorative function, as an honorific presence to adorn Kristina’s ambitious pro- 16 Thursday, April 6th, 18.00, F22 hall Friday, April 7th, 18.00, F22 hall 17

Happiness has a price patriarchy, capitalism and its investments If your mentally ill patient dies, are you in emotions, while love is for sale – are to blame? Emma, 18, is a free spirit. Living on a still rampant; today more than ever, per- sprawling French farm, she spends as haps. Capitalism and gender ideology, For Dr Françoise Davoine, Parisian much time as possible outdoors, far from both luring people with that carrot of the psychoanalyst, this question becomes the oppressive confines of the home- contradictory expectation of permanent disturbingly real as one of her patients, stead. What Emma seeks most of all is excitement, conspire to make individual Ariste, dies. Davoine is abducted and put an escape not just from the farm but to a lives hard, disappointing, and sometimes on trial by mediaeval fools and through life of glamour, passion, and freedom of ruinous. By drawing on classic literature the course of one hellish day – across movement. She first spots an outlet in the in order to provide an allegory for con- several centuries and countries – must form of Charles, a widower from a near- temporary mores, the work will offer a argue her case for exoneration. by village. But in everyday life he turns radically new interpretation of the text, re- As the journey forces Dr Davoine to out a bit boring. plete with powerful symbolism that evokes question her own life, via a mix of fiction, She soon seeks passion in a lover, this reimagining. In this way, Madame B documentary and theory, A Long History then turns her attention to the allure of questions visually the role of women in a of Madness takes the viewer on a one-of- money and consumerism, spending lav- society driven by masculine and capitalist a-kind journey into the minds of the ‘mad’ ish amounts on extravagant products. It impulses. At the same time, the film ex- and those designated to cure them. is a habit that will ultimately lead to her plores ways in which cinematic writing destruction as ruinous debt means all her can be turned into visual story-telling. possessions are auctioned off. The lover Starring as Emma is Marja Skaffari she is seeing at this moment of crisis will (Finland). The three men in Emma’s life not help her. When Emma’s attempts to are played by a single actor, the French recoup money or secure loans from busi- Thomas Germaine. This conflation of the nessmen, former friends and lovers run three men in one actor expresses the idea cold, her needs turn to desperation and that Emma is in love with love, not with she takes her own life. anyone in particular. The fact that Emma Adapted from the legendary, prophet- and her men don’t speak the same lan- ic novel from 1856, Madame Bovary by guage embodies the idea that at any rate, Gustave Flaubert, updated into an am- they don’t understand each other. The bitious feature film about our own time, pharmacist Homais, in our version more Madame B explores the way dominant criminally nasty than stupid, and obses- ideologies from the late nineteenth centu- sively paranoid, is played by French actor ry – specifically, within the framework of Mathieu Montanier. 18 Mieke Bal 19 Professor of Theory of Literature, University of Amsterdam, Netherlands [email protected]

In the Absence of Post-

I consider the artificial opposition be- 2013, Of What One Cannot Speak (2010, on tween ‘classical’ and postclassical’ nar- sculpture) and A Mieke Bal Reader (2006). In ratology theoretically and ideologically 2016 appeared In Medias Res: Inside Nalini Mala- ni’s Shadow Plays (Hatje Cantz), and in Spanish, problematic. While making younger gen- Tiempos trastornados on the politics of visuality erations obedient to a reified generational (AKAL 2016). Her video project, Madame B, with thinking, and making them believe it is hip Michelle Williams Gamaker, is widely exhibited, in to be ‘post-’, it seems to endorse the old 2017 in Museum Aboa Vetus & Ars Nova in Tur- periodization logic of a form of cultural ku, and combined with paintings by Munch in the Munch Museum in Oslo (with a book). Her most history that dates back to the nineteenth recent film, Reasonable Doubt, on René Des- century and is based on an oedipal hostil- cartes and Queen Kristina, premiered in Kraków, ity. In harbours an enticement to cultural Poland, on 23 April 2016. and theoretical oblivion. Instead, my plea www.miekebal.org is for a search for new engagements, more relevant for today, with those concepts from narratology that have proven their value enough to remain actual. I will propose the contemporary social-political relevance of, especially, the concept of fo- calisation. I will look especially at another Keynote falsifying use of the preposition ‘post-’, in that other ideologically fraught semantic field, the ‘post-colonial’, which, if it wasn’t for my resistance against such divisions, would be better termed ‘neo-colonial’. To the chrono-logic of ‘history’ I propose the more flexible alternative of ‘memory’. And to binary opposition, Spivak’s concept of ‘critical intimacy’. An examination of the various aspects of the concept of focalization will demonstrate its relevance for narratology today, in the era where critical, political, ethically sensitive and affec- tive reading is necessary.

Keywords: classical narratology, postclassical narratology, critical intimacy, focalization

Mieke Bal is a cultural theorist, critic, occasional curator and video artist. She works on feminism, migratory culture, psychoanalysis, and the critique of capitalism. Her books include a trilogy on political art: Endless Andness (on abstraction) and Thinking in Film (on video installation), both 20 Jeremy Lawrance Stefan Iversen 21 Professor of Spanish Golden Age Studies, University of Nottingham, UK Associate Professor, Aarhus University, Denmark [email protected] [email protected]

Memory and Trauma among Exiled Sephardim: Immersion and Defamiliarization A Curious Edition of Targum Shir ha-Shirim in Unnatural Narratives (Salonika 1600)

Printed in the Ottoman empire in Hebrew the Netherlands, Germany, Austria, Turkey, Tuni- Literary narratives may produce strik- tive Fiction (De Gruyter, 2011) and is co-editing sia, Ireland, Jamaica, the USA, and Argentina. His ingly different experiences. Some texts forthcoming volumes on unnatural narratives and script and surviving in a single copy, this second generation cognitive narratology as well Ladino translation of the Targum of Song research centres on Iberian medieval and Renais- immerse us in events and characters sance literature, with special interests in the histo- as on fictionality. He has published in journals of Songs originated in Spain in the 14th through techniques that map onto our ca- such as Storyworlds, Narrative, European Jour- ry of humanism, imperialism, and ethnic conflict in pacity for mental simulation via the exten- century, where it was read in synagogues the Mediterranean and Hispanic American worlds, nal of English Studies, and Style on subjects such during Passover. The Targum makes Song and critical editions of MS and early printed Latin sion of our proprioceptive and perceptual as unnatural narratives, narrative rhetoric, early modernism, literary theory and the literature of an expression of Jewish Messianism; and Spanish texts. He was elected a Fellow of the capacities into imaginary space. Other testimony. With Henrik Skov Nielsen he edits the its Ladino version was to play a role in British Academy in 2011, and is presently engaged texts seem deliberately to expel us from in a project on gender in late-medieval and Renais- series “Modern Literary Theory”. Iversen leads Sephardi culture for centuries after their such absorption, for instance through sance Spain and editions of Palencia’s Gesta His- the international PhD Summer course in Narrative expulsion from Spain in 1492, remaining foregrounding their constructed and ar- Studies (www.sins.au.dk), held annually in Den- paniensia, Cartagena’s Memoriale virtutum, and tificial nature, by obstructing the reading in print from Amsterdam to İstanbul until sixteenth-century Sephardic texts. mark. He is a member of the steering committee the last edition at Rhodes in 1930, short- process or by constructing worlds or for the European Narratology Network. ly before the tragic eradication of the events that challenge our sense-making Sephardi Balkan communities. This stub- abilities. Such experiences of being en- born preservation of their Spanish roots gulfed or expelled have served as start- shows the astounding persistence of the ing points for theories on, respectively, exiles’ homesickness for a land in which immersion (Gerrig 1993, Ryan 2001, none of them had, or ever could, set foot. Jean-Marie Schaeffer 2010, Caracciolo My talk will meditate on the mystery by 2011) and defamiliarization (Shklovksy starting with the Hebrew preface by the 1917, Miall and Kuiken 1994), two con- itinerant merchant Jacob Ashkenazi, who cepts often construed as opposites. This carried his MS of Cantares all round the talk, which partly draws on a collaboration Levant, surviving famine, further expul- with Miranda Anderson (UK), sets out to sion, and a Florentine assault on Chios question this opposition. By reframing in 1599 before reaching the only press the notion of the unnatural and through in the Islamic world, at Salonika. Jacob’s readings of experimental narratives, the narrative is a testimony of ordinary Jews’ aim is to investigate, the different ways in nostalgic reconstruction of their identity which narrating beyond narration simul- through such stories of trauma. taneously entices and disrupts engaged understandings of textual as well as of actual worlds. Keywords: Targum, Sephardic culture, homesickness, trauma, memory Keywords: immersion, defamiliarization, unnatural Jeremy Lawrance is Professor of Spanish Golden narratives, experimental narratives Age Studies at the University of Nottingham. He took his MA in Classics and DPhil at Oxford, be- Stefan Iversen is Associate Professor at the came a Fellow of Magdalen College there (1978), School of Communication and Culture at Aar- then moved to the University of Manchester hus University in Denmark. He has co-edited the (1985) before taking up his present post (2006). anthologies Why Study Literature? (Aarhus Uni- He has lectured in Spain, Portugal, Italy, France, versity Press, 2011) and Strange Voices in Narra- 22 Josette Féral 23 Professor, Institute of Theatre Studies, L’Université Sorbonne Nouvelle - Paris 3, France [email protected]

The Return of Meta-Narratives

Whatever name we give to our theat- 1999, reprinted in 2001), Rencontres avec Ariane rical productions, they all tell stories. Mnouchkine (Paris, 1995, reprinted in 2001) and These stories range from the intimate to Trajectoires du Soleil (Paris, 1999) on Mnouch- kine’s work. She has edited several collectives the epic; they may be expanded or de- among which Scènes performatives, Body-Remix constructed; they may take the form of a (2012), “The Genetics of Performance” (Theatre linear account, a documentary, or a wit- Research International, 2008), The transpar- nessing. They may be presented via di- ency of the text : Contemporary Writing for the alogues, with voice on or voice off. But Stage (co-éd. avec Donia Mounsef, in Yale French Studies, no 112, 174 p, fall 2007); Theatricality whatever their form, they tell stories. (special issue of Substance, Madison, 2002), Stories have never left the stage. I would Mnouchkine und das Théâtre du Soleil (Berlin, even say that today, story-telling is hap- 2003), L’Ecole du jeu, former ou transmettre pening onstage more than ever. How has (L’Entretemps, France, 2003), Les chemins de this come about? What are the proce- l’acteur (Montréal, 2001. Her work focuses most- dures and tools that make this possible? ly on contemporary western theatre, the body in acting theories as well as “presence effects” in art. What are the modes of narration? This, She has been President of the IFTR (Internation- in my view, is the fundamental question. al Federation for Theatre Research) from 1999 At the heart of this vast field, one par- through 2003. ticular practice stands out: a return to what the French call “les grands récits,” or “meta-narratives.” Guy Cassiers, Ivo Lectures van Hove, Julien Gosselin, and Thomas Jolly do not hesitate to present very long stories in their productions, as though they needed narrative challenges that were on a par with the complexities now available to them from technology. How do we explain these forms of narration being staged today? This return to long stories ? What is their link with meta-narratives? These are the questions we would like to raise in this paper.

Keywords: meta-narratives, story-telling, modes of narration, narrative production

Josette Féral has published several books including Le théâtre, une médiation impossible? (2016), Théorie et pratique du théâtre: au-delà des lim- ites (2011), Rezija in Igra (Slovénie, 2009), Voix de femmes (Montreal, 2007), Teatro, Teo- ria y practica: mas alla de las Fronteras (Buenos Aeres, Galerna, 2004), Mise en scène et jeu de l’acteur, volumes I and II (Canada/Belgium 1997, 24 Mario Vrbančić Božena Pandža-Mandurić 25 Associate professor, Department of English, University of Zadar, Croatia PhD student, Faculty of Humanities and Social Sciences, [email protected] University of J. J. Strossmayer, Osijek, Croatia [email protected] In Shower with Hitchcock: Holocaust in Film and Book: Film Narration and Theatricality of Camera Narratology in Selected Works of Holocaust As the title suggests, in this paper I will to be undermined by the intrusion of the through the Scope of Film and Literature take you into the ‘shower’ with the master silhouette wielding a knife. However, the of suspense. It is a very strange shower in- silhouette within the frame-within-a-frame deed – a dry shower, you will not get wet of the doorway is an incorporeal shadow, The aim of the paper is to explain the nar- despite the intensity of the water pouring as if a projection on a screen. It suggests ratology in film and literature and to show all over you. Of course, I refer to the most cinematic illusion that finishes with anoth- the differences between these two, as famous shower scene in the history of cin- er framing, that is, a slow dissolve from well. Narratology has an important part ema – the shower scene in Hitchcock’s the drain to an eye. The camera displaces in film and sometimes it is the key thing Psycho. It is not just about the water and the drain in the frame, appearing to peer which could provide a major difference the body and all the eroticism of water out from within the drain – a hole-within- when comparing film with the work of touching the body – the shower sprin- a-hole of this eye. What Rothman misses literature. Therefore, Holocaust takes a kles with innumerable questions, some of in this series of framing, from a frame- special part in the field of literature work which William Rothman addressed in his within-a-frame to the hole-within-a-hole, and its film adaptation. The paper will an- book Hitchcock: Murderous Gaze, but, in is the ultimate hole as a frame, that is, alyse two works which belong to the hol- my opinion, never quite fully realizing the fiction-within-fiction. And this is my main ocaust literature, The Book Thief and The consequences of his views for the analysis point of departure as I ‘stand’ in the enig- Boy in the Striped Pyjamas with their film of ‘narrating beyond narration’. For Roth- matic proximity of the Master of suspense, adaptations inferring to the difference man (2012) there is no way to compre- under the shower and soaking wet, ques- and similarities in narration. The paper hend any film without a detailed and labo- tioning the dialectics between theater and will provide the theoretical background rious account of the camera – its position, cinema, approaching the central paradox of the Holocaust literature and place it its role, its interplay between the eye and of Hitchcock’s narration, and identifying into the film and book. The importance the gaze. Hence, in the famous shower that it is only through theatricality (of cam- of paper is based on the analysis of the scene, the camera’s performance is just era) that we can reach ‘pure cinema’. selected works and films considering the as important as that of the woman’s body, narratology as a starting point. the pouring water, and the mother’s mur- Keywords: derous intrusion. As Rothman notes, in the narrating film, Hitchcock, theatricality of Keywords: cinema, fiction-within-fiction, ‘pure cinema’ Holocaust, film, literature, narratology, shower scene the camera takes the posi- comparison tion of the shower head, assumes the role Mario Vrbančić works as an Associate Professor of Marion’s imaginary partner and in the in the Department of English at the University of Božena Pandža-Mandurić (born 1991) has a MA end peers out from the drain. In addition Zadar, Croatia. He holds a PhD in comparative in German language and literature and English language and literature and now is PhD student at to that, the camera performance alludes literature from the University of Auckland, New the Faculty of Humanities and Social Sciencies at to different systems of representation, a Zealand. He has worked in Croatia, New Zealand, Ukraine and Australia. He has written a number the University of J.J. Strossmayer in Osijek (Post- series of transitions from one medium to of academic articles and essays on postmodern graduate university study of Literature and Cultur- another. Rothman argues that the shower literature, performance and cinema. His work al Identity). She participated in many conferences curtain hanging from a bar at the top of the has been published in various journals, including connected to the film adaptation and German lit- screen forms a frame-within-a-frame that Performance Research, Comparative Literature erature after which she published several papers. and Culture, and New Literary History. His book Parts of her interest are film adaptations of litera- almost fills the screen, signifying theater, ture and German and English literature in general. or the theatricality of the event. The cam- is entitled The Lacanian Thing: Psychoanalysis, Postmodern Culture and Cinema (New York: era declares that the world we are view- Cambria Press 2011). He has also been involved ing is framed, framed by the curtain. The in film projects and published several radio and scene is not fully real, it is staged, only theatrical plays. 26 Boris Ružić Hrvoje Turković 27 Assistant, Faculty of Humanities and Social Sciences, University of Rijeka, Croatia University professor in retirement, Academy of Dramatic Art, University of Zagreb [email protected] [email protected]

Lost in Narration: ‘Norm of Visibility’ vs. ‘Norm of Invisibility’ Protests, New Media and in Classical Film Narration the Absent Storyteller

Predominant orientation of classical nar- By analyzing two case studies, one in of the one who watches and the narrative ration, as installed by the ‘Hollywood’, Croatia (protests for the liberalization of it appropriates. Therefore, my analysis is was to attract viewers’ interest toward education), and comparing it with a wider concerned with the comparison of old and the story world, to absorb them into the southeast European context (Romanian new documentary practices. How can we represented world. The style, in order to revolution), I aim to present the complex take advantage culturally and politically be conductively effective for this function, interplay of at least two different narrative from the usage of new media technolo- had to be ‘transparent’, ‘invisible’ (hence agents in the new media sphere. I pro- gies? I claim that the new (digital) media the ‘norm of invisibility’). But, at the same pose the possibility of the spectator in the strategies of visualizing and narrating pro- time a parallel – never stated – ‘norm of so-called decentralized media context of tests and violence can help in abandoning visibility’ was obeyed as the necessary today to be at the same time a narrative the idea of unidirectional dissemination of part of the very same classical storytell- agent in contrast to the usual rendition information from the “producers” to their ing. The presentation will demonstrate of decentralized media as manipulative receivers in favor of a “nomadic hierar- the ‘visibility’ strategies present in the or false. New technologies are inherent- chy” in which the information sphere is al- classical narration discourse, and offer ly personal (smartphones, drones, cam- ways intersubjective (through internet-de- a hypothesis about their special function. eras), but their effects are increasingly centralized participation). social. The topic of my work lies pre- Keywords: classical film narrative, discourse strategies, cisely in that space of aporia. The study Keywords: norm of visibility, norm of invisibility of visual culture stems deeply from the protests, visual studies, Harun Farocki, gaze, intersubjectivity history of seeing it as connected to – as Hrvoje Turković (Zagreb, 1943). BA in philosophy and sociology at Zagreb University (1972); MA in Michel Foucault states – the subject that Boris Ružić is an Assistant at the Department of film studies at New York University (1976); PhD becomes at the same time an object: an Cultural Studies, University of Rijeka, Croatia. He in philology (1991) Zagreb University. Professor at holds four seminar courses at the Department of ambivalent subject of and subject to the the Academy of Dramatic Art (1977-2009), now Cultural Studies. He is the editor of The Window gaze. In this paper, I aim to analyze the retired. Since 1965, he has published numerous into the Digital on the Croatian radio, a programme possibilities of the formation of a specta- articles, and 14 books on film, TV and visual arts. dealing with topics such as technology, media, vis- (cf. https://unizg.academia.edu/HrvojeTurkovic). tor as an intersubjective agent: an agent uality and philosophy in contemporary society. He that is able to examine and develop het- is also an author and columnist for the Croatian erogeneous modes of visual introspection website tportal. His publications deal with com- by confronting its subjectivity with other parative dialectics of analogue and digital media subjects or visual texts in the context of a and film. His scientific interests lie in the liminal digital production of image. The question zone of visual images, analogue and digital film image and the semiotics of the virtual filmic state. seems to be how visual representations of He is the author of several chapters and scientific protests and similar ideological proposi- articles in his fields of research. tions shape the identity of a spectator in terms of his epistemological relation to the visual, today. The answer I am proposing is not focused only on the content shown through the medium of image, but also on the perception (and the various strategies of understanding through seeing) 28 Saša Vojković 29 Professor, Dramaturgy Department, Academy of Dramatic Art, University of Zagreb [email protected]

The Humanist Vision in Neorealist Films: Circularity of Influences in World Cinema

In contemporary cinema there is an in- that the most important achievement of received her MA in film studies from the University tensification of intercultural influences, neorealism was the fact that it brought of Amsterdam; she was awarded an ASCA PhD of the circularity of agents, subjectivity, the lives of ordinary people to the film Fellowship from the Amsterdam School for Cul- tural Analysis, Theory and Interpretation; won a style and genre. There is an increasing screen. According to Zavattini, the aim of three year YKPao postdoctoral fellowship from the number of films that generate intercul- neorealism is to discover the “everyday- Hong Kong University of Science and Technology; tural, discursive and analytical spaces ness” of human lives. Here we can rec- author of three books, Subjectivity in the New Hol- which need to be explored. At stake is the ognize Zavattini’s humanist vision which lywood Cinema: Fathers, Sons and Other Ghosts, continuous displacement of filmic styles influenced De Sica’s films. Relevant here Filmic Medium as (Trans) Cultural Spectacle: Hol- lywood, Europe, Asia, and Yuen Woo Ping’s Wing is the concept of focalization, particularly which inspires us to create new ideas Chun. She is currently completing her book Circu- about the filmic worlds, about ourselves external focalization. Bal states that fo- larity of Influences in World Cinema:Transcultural and others. The emphasis is placed on calization has implications which surpass Media Literacy. the stylistic specificities, iconography the field of vision limited only to the char- and narrative representation. This en- acters. She emphasizes the relation be- ables us to recognize a double or even tween the vision of the external focalizer a triple exchange between different film and a certain world view which prevails cultures, traditions and national cinemas. in the story. Speaking of circularity of influences, one The specificity then of the fabula in ne- film movement that proves to be the most orealist films is its reliance on extratextual influential is Italian neorealism. information and segments of reality that When we observe the influence of ne- are broader than that of narrative texts, orealism, in the first instance, we need to as well as the reliance on the focalized consider its humanist vision implying that world view. In this paper I will discuss the we cannot rely only on elements and as- examples of world cinema which have ap- pects of the narrative but we have to rely propriated the humanist vision of neore- on extratextual information, or rather in- alism and the ways this vision affects the formation which surpasses the narrative structuring of the fabula. I will also context. The point of departure is, and I am sider the influence of narrative form and following Mieke Bal here, that the fab- the fact that the neorealist films tend to ula, even more generally than the story loosen up narrative relations. This can be (or syuzhet) makes a segment of reality noticed most prominently in Chinese, Ira- that is broader than that of only narrative nian, Indian, African (especially the films texts only, describable. Fabulas always of Ousmane Sembene), or Mexican cine- make describable segments of reality that ma (especially the films of Louis Buñuel). are broader than that of narrative texts only, but in the case of neorealist films Keywords: this is more pronounced. The essence of intercultural spaces, circularity of influence, neorealism, humanism, focalization original neorealism is typically presented through the work of Vittorio De Sica Saša Vojković is professor of film and media at the and Cesare Zavattini. Zavattini believed Academy of Dramatic Art, University of Zagreb; 30 Mario Slugan Una Bauer 31 Postdoctoral fellow, Department of Film and Television Studies, University of Warwick, UK Assistant professor, Dramaturgy Department, Academy of Dramatic Art, University of Zagreb [email protected] [email protected]

The Lecturer as the Collaboratively scripted Earliest Controlling Fictional performances of life events Narrator in Cinema In 2010, Lauren McCarthy performed SCRIPT: Collaboratively scripting my The question whether there exist con- words, Holmes’ “verbal track” secures life, day at a time. It was a month long trolling fictional narrators in cinema has the continuity and spatial overlapping of online performance during which anyone generated much debate. Whereas the the elements in the “image track” making on the internet was allowed to take part idea is mainly supported by films schol- the latter appear as the visual representa- in the actual scripting of McCarthy’s life. ars interested in narratology (Metz 1991, tion of the observers’ point-of-view. Cru- My paper will look into predecessors of Gunning 1991, Verstraten 2009) it is cially, in the hybrid-text that is Holmes’ such scripted and scored performances primarily dismissed by analytic philoso- lecture, Holmes is the fictional narrator and problematize whether, to what extent phers (Carroll 2006, Currie 2010, Gaut who is responsible for all of the images and under what circumstances elements 2010). Rarely, however, does the discus- we see and sounds we hear. of narratological analysis could be fruitful sion look to early cinema and the time be- in approaching these and similar cases. fore 1912 when film screenings were often Keywords: narrator; text; early cinema accompanied by lectures. From narrative Keywords: perspective, lecturers afforded narrative Lauren McCarthy, performance, script, Mario Slugan holds a PhD in film and television narratology clarity by providing running commentary studies from the University of Warwick, where he and story context, performed dialogue is currently a postdoctoral fellow. He works on the Una Bauer is a theatre scholar and writer based in lines and otherwise dramatized the ac- intersection of narratology, philosophy and recep- Croatia. She teaches at the Dramaturgy Depart- tion. In this presentation, I look at the tion studies. He has presented at numerous con- ment and the Dance Department of the Academy famous turn-of-the-century travelogue ferences (e.g. International Society for the Study of Dramatic Art in Zagreb. She holds a PhD from lecturer E. Burton Holmes to make three of Narrative, Society for Cinema and Media Stud- Queen Mary, University of London. Her research ies, Society for the Cognitive Study of the Moving points. First, I argue that during early cin- interests include theatre and dance as expanded Image) and has published in Film and Philosophy, practices, history of ideas, affect, social media, ema it was not a single film that consti- Slavic Review, and in an edited volume titled How networked publics, community, death, public tuted the text as it is the case today. In- to Make Believe (De Gruyter Press Narratologia sphere, crime fiction and travel writing. Her first stead, the whole screening was a hybrid series). Two monographs of his are set to come book Priđite bliže: o kazalištu i drugim radostima text made up of both the lecture and im- out in 2017: Montage as Perceptual Experience: (2015) is a collection of essays on theatre and ages. Second, with recourse to Walton’s Berlin Alexanderplatz from Döblin to Fassbinder everything else. Her current project is a book on (Camden House) and Noël Carroll on Film: A Phi- the work of Croatian theatre and dance company (1990) theory of fiction, I demonstrate losophy of Art and Popular Culture (I. B. Tauris). BADco. (forthcoming, co-edited with Ric Allsopp, that the lecturers had the power to trans- for Performance Research Books). form travelogues into games of make-believe with a simple turn of the phrase. In other words, what we think of as documentary accounts of travels to foreign lands were often presented as fictions to contemporary audiences. Finally, I argue that Holmes’ performances constitute the earliest instances of controlling fictional narration in cinema known to date. He secures this through a combination of narrative present tense, the use of “we”, and the use of images and films. In other 32 Lidija Fištrek Ana Fazekaš 33 PhD student, Faculty of Humanities and Social Sciences, University of Zagreb PhD student, Faculty of Humanities and Social Sciences, University of Zagreb [email protected] [email protected]

Stelarc and the Posthuman Auto/Biography of Hurt: Body Performance in Contemporary Art Representation & Representability of Rape in Feminist In this paper, I endeavoured to examine organism with machines, creating a coded Performance Art the performance of the posthuman body device – more intimate and powerful than in the art performances of contemporary anything else in the history of sexuality. artist Arthur Stelarc. The posthuman body is increasingly becoming the focus Keywords: In a culture that incorporates sex/uality photography, (pseudo/documentary) film, of interest in the fields of philosophy, posthuman body, performance, bio-politics, into the imagery of everyday life more ag- digital media, and interactive formats. identity, mechanical body techno-science, art and bio-politics. gressively than ever, and pornography is Special focus will also be given to the The term bio-politics took on a cen- Lidija Fištrek, PhD student, assistant lecturer more present, easily accessed as well as phenomenon of the public’s reading of tral role in the wide interdisciplinary field (Section for Tourism of Vern’ University of Ap- violent and disconnected from authentic these performances as autobiographical, of the humanities at the beginning of the plied Sciences, Zagreb). BA in Fashion Design female sexuality, how does a female art- and the negative effects this kind of ad- 21st century. A condensed interpretation (1995), MA in Theory of Fashion (Multicultural- ist approach, narrate, perform the prob- ditional force applied to women’s art can of the definition of bio-politics is aimed ism and Fashion, 2011) and PhD student (Doc- lematics of sexual violence while resist- have on both the private and the political toral study of literature, performing arts, film and ing being re-framed as a sexual object of at health policies and demographics, culture, from the Faculty of Humanities and Social of the work. Specifically, when the work, ecology and questions regarding the fu- Sciences, University of Zagreb). The area of work (male) desire? This article will attempt to not explicitly labelled autobiographical ture of humanity. and research has concentrated on the issues of provide a brief analysis of various feminist by the only person that can apply such a Foucault’s bio-politics is one of pre- expressing cultural identity, fashion and identity, performance art pieces from the sixties categorisation – meaning the author her- monitions of cyborg politics – a very deconstruction in fashion, tradition and contem- to present day that problematize sexual/ self – is read as an autobiographical piece porary, post-human status of the body in contem- open field. The cyborg is not a subject ized violence against women. Based on and the artist is branded a damaged, trau- porary fashion and performative arts, promotion of the examples of works by artists such as of Foucault’s bio-politics, but rather, it Croatian cultural heritage through various projects matized individual, whose experience is simulates politics. Because of science, in culture and tourism. Yoko Ono, Suzanne Lacy, Ana Mendieta, an unfortunate exception, the piece loses the body becomes immortal, it changes Tracey Emin to Emma Sulkowicz and oth- on the political dimension; and when the its status into posthuman. It exceeds all ers, the text will explore various modes work is openly autobiographical it faces a the limits of the human mind in an end- of expression and question whether and lot of the mistrust, humiliation and ques- less search for change and perfection. in what ways they have changed with the tioning that rape survivors face after the The body loses its identity, it becomes a development of new media. A crime so fact. There arise questions of how can this fragmented body as Lacan calls it, and close and personal, a trauma so individ- type of pain and trauma be communicat- is in the end completely transformed. ual, yet an experience so grotesquely col- ed (narrated?), which modes have been The metamorphosis that the body goes lective, inherent in the culture, a culture used by the cited authors and what were through has drastically changed since of its own, has its distinct place in the both public and critical responses. When artistic practice of many feminist authors, its very creation and original purpose. it comes to the artistic mode that prides while they fought for a voice where the However, these changes exist exclusively itself most in its closeness to life and body cry had been muffled, and refusing to be within the frame of radical feminism, art, – where when there is pain, the pain is reframed into another masculinist fantasy science and philosophy. real – how does one approach a violent of violence. Resistance through this type When talking about the mechanical invasion on a person’s body and self, in a body, we imagine a mechanical machine, of expression, its power and limitations, culture that perpetuates the mass psychol- made from metal or some other alloy, is what this article wishes to approach ogy of rape (Brownmiller), and what can operated by an engine. The mechanical and untangle. The performance pieces it mean to those who stand by and watch. body I am discussing is the product of sci- in question combine various media, and ence and technology, in line with the pro- the article will briefly touch on the analysis of the ways violence and trauma are Keywords: gress of the contemporary era. Modern representability, rape, performance art, medicine is working on uniting the human transferred through live performance, feminism Ana Fazekaš (b. 1990, Zagreb) is a second year Mona Khattab 35 doctoral candidate on the Faculty of Humanities PhD researcher, Doctoral Programme in Languages and Communication, and Social Sciences in Zagreb, Department of The University of Vaasa, Finland Literature, Performing Arts, Film, and Culture. [email protected] Her thesis revolves around female Eros and aggression, interactions and transformations of love and violence, through psychoanalytic theory and Narrating Walls: Visual Narratives of feminist criticism. Her MA thesis “Discursive For- mations of a Crime: Papin – Lacan – Genet”) has Graffiti from the Egyptian Revolution been published in Književna Smotra (2016), vol. 179 No. 1. So far, she has taken part in two international conferences: 10th IUC Conference Femi- The Egyptian protests that escalated on The works analyzed are taken from nisms in Transnational Perspective: Reclaiming the January 25, 2011, and are referred to in a number of sources: mainly social me- Future: Feminist Engagements for the 21st Centu- the media as the Egyptian revolution or as dia and collected graffiti books about the ry (with an article: “Bitch Better Have My Money: the Arab Spring, might not have brought Egyptian protests. The studies of Mieke Female Eros and Aggression in Contemporary Pop Music”) and 10th Dani Marije Jurić Zagorke: forth most of the desired changes they Bal and Roland Barthes are especially Across Borders: Oppression and the Solidarity set out to bring. But they did bring about, relevant to the present paper, yet the cri- Imperative (“Weaving Utopia: The Woman in the however briefly, a revolutionary outburst tique of other works and analyses of vis- Context of Utopia/Dystopia”). She has been work- of creativity. From songs to poems, and uality are also included in the study. ing as a theatre and dance critic in various publica- from dance to visual arts, the streets of tions for several years, has an MA in Comparative Cairo, Alexandria and many Egyptian cit- Keywords: literature and Russian Language and Literature, ies were teeming with creative responses visual narrative, graffiti, Arab Spring, Egyptian and has been working on independent performing Revolution, street art arts projects. Recently, she has joined the Croatian to, not only politics, but the state of the Lexicography Institute as an outside collaborator, world at large. Street art was a power- Mona Khattab studied English literature and lin- writing for the Theatre Lexicon. ful means for the generation of Egyptians guistics at the English Department, Faculty of trying to forge a future and get recognized Arts, Alexandria University. She went on to study to express themselves and to process the for her first Master’s in English and Comparative rapid flux of world responses to their ac- Literature at the American University in Cairo. Thesis: “Three Spiritual Narratives: A Reading of tions. Their art was part of their stories. Hermann Hesse, Ibn Tufayl and Naguib Mahfouz”. The present paper sheds light on the She moved to Finland and finished her second graffiti sprayed by largely anonymous Master’s in Intercultural Studies in Communica- street artists during the upheavals of tion and Administration at the University of Vaa- 2011-2012. Many of those works of art sa. Thesis: “Cyberactivism and the Arab Spring: were wiped out by authorities. Many of Textual Analysis of Social Media in the Light of Communication Power Structure, Transnational them were captured on camera first. To- Learning and Regional Development”. She is cur- gether they form a string of narratives. In- rently studying for her Doctoral Degree in Com- dependently, each tells its own narrative. munication in Finland. Mona Khattab taught liter- The current paper attempts a narrato- ature and translation at the Faculty of Languages logical reading of the visuality of a number and Translation at Pharos University in Alexandria. of graffiti works in Cairo and Alexandria. She has recently completed editing and translat- ing an article on the translation of Shakespeare’s The focus of the paper is on the spatial as- King Lear for a Routledge book on the adapta- pect of the graffiti and how far the choice tion of British drama into the Egyptian theatre; of location, the space they were painted Al-Khatib, Mohamed Samir (2016), “Translation on, and other factors related to their cre- and Dramaturgy in Egyptian Performances of King ation can be an aspect of the visual narra- Lear.” Trans. Mona Khattab. Rewriting Narratives in Egyptian Theatre: Translation, Performance, tive they present. The aim of the study is Politics. Eds. Sirkku Aaltonen & Areeg Ibrahim. to examine the role of surrounding factors New York: Routledge. Her interests range from in addition to graffiti work in creating a literature, languages, translation, communication, narrative of events as fluid as political dis- traveling, music and humanitarian work. sent of a state of affairs that is still taking shape and evolving to date. 36 Mersiha Ismajloska Marijan Tucaković 37 Teaching assistant, University of Information Science and Technology PhD student, Faculty of Humanities and Social Sciences, University of Zagreb “St. Paul the Apostle”, Ohrid, R. Macedonia [email protected] [email protected]

Lewis Carroll’s Alice, from John Tenniel Narration through Performance: to Salvador Dali and further Embodiment of Pianism and Conducting

Lewis Carroll’s Alice and its illustrations Mersiha Ismajloska is born 1980 in Struga, Re- today become a canon of one phenome- public of Macedonia. In 2015, she defended her Pianists and conductors communicate as performance. Technical personae pre- non, a phenomenon that includes the re- doctoral thesis at Department of General and music through their performance. Often, sents an idea of artistic personae through Comparative Literature, Philological Faculty lation of literary and visual. Overcoming musicians are considered to be repro- realisation of music partitura on stage “Blaze Koneski”, Skopje, Republic of Macedonia. ductive artists only, but recent research- (showing doing). The role of perfor- the limitations of definitions of children’s Her professional interests include interdisciplinary literature, the phenomenon of Alice offers relationship between literature and visual arts. Un- es have confirmed that music is strongly mance analysis of pianism and conduct- one authentic reading or seeing where til now she has published three books. Ismajloska presented not only through aural but also ing is to explain embodied narration that, word and picture complement each other. currently works as an assistant at University of In- through visual and kinesthetic engage- in our opinion, presents metatechnical formation Science and Technology “St. Paul the Knowing that Lewis Carroll’s origi- ment. The background of different visual part of pianism/conducting, by the term Apostle”, Ohrid R Macedonia, and she took part in and kinesthetic, as well as aural (purely of metatechnical personae. nal manuscript for ‘Alice’s Adventures In some of the university projects. Wonderland’ was titled ‘Alice’s Adven- musical) types of performers, may be This research is based on theory and tures Under Ground’ and was illustrated found in two different artistic approach- practice. The theoretical part uses inter- by himself can lead us to the first anal- es to the musical piece. Often musicians disciplinary research methods character- ysis of the phenomena. The first official compare their art with the art of acting istic for the performance studies, while the illustrations of John Tenniel are excellent and vice versa. Studies of theatrologi- practical part consists of teaching experi- complement to the text and in some cas- cal works of authors such as Denis Di- ence in piano pedagogy and engagement es replace text. They create its own nar- derot, Konstantin Sergejevič Stanislavski, as conductor for various ensembles. The ration, without which, information would Branko Gavella, in relation to writings of intention of this research is to underline be lost and the reader’s aesthetic expe- musicians such as Carl Philipp Emanuel the verbal narration of different authors, rience would be incomplete. We will try Bach, Heinrich Neuhaus, Alfred Brendel, music essayists, theater researchers and to find the melting spot of literary and to name a few, show two basic styles of psychologists while explaining the per- visual, and to see does that spot exist. artistic approaches in performing arts. ceived narration of pianist and conductor Also, what that means for the aesthetic On one side we have a Diderot-based during public performances. The work experience and how it is connected with artistic personae, and on the other side presents the specific narration used to media. The idea is to give and interpret, a Stanislavski-based artistic personae. explain the artistic performance issues chronologically, some of the illustrations Both approaches include narration as that are beyond narration. of Alice. Through these examples we can part of training (associations based on The work presents three narrative speak about visual narratives and what literature, emotions, atmosphere...) to models – during training (narrative sto- they mean for literature and for visual assist the understanding of musical es- ry and drama in music, rhetoric, playing arts. Can they exist as some specific field sence and meaning. Specific piano and roles), within the performance (narrative in theory of literature or art? conducting techniques also require nar- expression, narrative body language), and The text will give some opinions about ration as an artistic function in order to aftermath of performance (narrative of the future of the phenomena of Alice, that avoid mechanical ways of practising. critics, analyses, performance studies). will include literature, visual arts and cul- Narration is also implemented as the Special attention is given to a narrative ture in general. essential part of public performance. explanation within the transfer of knowl- If performance is considered through edge in art education, as well as narrative Keywords: „being“, „doing“, „showing doing“ and explanation within the performance stud- Alice, phenomenon, illustrations, melting spot, visual narratives „explaining ‘showing doing’“ as Richard ies of pianism and conducting. Schechner suggests, that leads us into the analysis of the pianism/conducting Keywords: Amra Memić 39 narration, performance, pianism, conducting, Associate professor, Department of Bosnian language and literature and History, embodiment University of Bihać, Bosnia and Herzegovina [email protected] Marijan Tucaković (Zagreb, 1983), pianist, piano teacher and choral conductor, completed his education at the Music Academy, Zagreb. He is cur- Structural Presentation of Dramatic Time rently finalizing doctoral studies at PhD Program in Literature, Performance, Film and Cultural in the Neo-Historical Political Theatre Studies, Faculty of Humanities and Social Scienc- es, University of Zagreb. His professional career includes numerous piano recitals, piano teaching Primary tense in dramas is always pres- specific time scales. Thanks to dramatic at Music University “Elly Bašić” Zagreb and con- ent (hut et nunc), however, the dramatic multi-media, we have a parallel stream ducting of various choirs. His scientific research texts are cross clarifying the dimensions of two specific times in size and they is primarily related to the Performance Studies in of past, present, and future. In the anal- are always the intertwining of an internal Art Performance, including performance theory ysis of dramatic texts, it is important to communication system with an external and practice of pianism and conducting within the communication system in a kind of symbi- context of pianism and conducting stage presence observe the relationship among the ficti- (concerts/theatre/acting), as well as within the lit- tious level of the displayed time and the osis, which brings us to the basic items of erature, film and cultural context. His papers are level of real-time display. It is essential to neo-historical, political plays. On this ba- published in several professional journals. know is a time of the fictional plot placed sis, we can talk about the semantization in mythical time, an understandable his- of dramatic times, because the selection torical epoch, recipient’s present or some of any historical epoch has an exactly pre- sort of indeterminate ahistorical time determined semantic function in the pres- because the distance that occurs in the entation of the play. Most of the plays have correlation of fictional and real-time has an open structure of space and time. This significant implications in the reception tendency of dramatic structure to ‘’spatial drama. In the analysis of neo-historical, and temporal openness’’ is necessary for political plays the most important note is all those neo-historical plays that seek to in the relations established between the represent a large period of time. On the present time (drama’s runtime) and the basis of such dramatic structure the epi- past time that clarifies and dissects the zation is emphasized as a product of the dramatic text. These times are neces- violation of space-time concentration typ- sarily connected to a ‘’higher’’ time that ical for a dramatic structure. That is why represents deconstructed issues of the this type of neo-historical political drama recipient’s present, so that time is always are easily comparable with the structure representative of the dramatic idea. Such of the epic narrative storytelling. parallelization of times is generally performed on the basis of demystification of Keywords: neo-historical, political plays, dramatic texts, a specific past time which is recognized semantization, epization as the most appropriate for that drawing a parallel with the current time. Both are Amra Memic (Bihac, B&H, 1979.) holds BA in represented, and this always means that Bosnian language, literature, and history from the University of Bihac, an MA and PhD in literary-his- a symbiotic connection forms a sort of torical science from the Faculty of Philosophy, time of unity that only unified talks about University of Sarajevo. Her research interests are a specific problem that the dramatic texts focused on: comparative literature, history of lit- elaborated. Unlike narrative texts, dra- erature, literary theory, rhetoric, theater studies, mas always have the time of presentation film studies and dramatic literature within South of drama (drama’s runtime) which is al- Slavic interliterary community. She works as an Associate professor at the University of Bihac, ways in the present tense and represent where she teaches World Literature, Drama and specific time scales and time are shown film, Criticism and essays and Teaching methods (time in drama) which become a station of the Bosnian language and literature. 40 Leo Rafolt Goran Pavlić 41 Associate professor, Faculty of Humanities and Social Sciences, University of Zagreb Assistant, Academy of Dramatic Art, University of Zagreb [email protected] [email protected]

Performing Oppression (Narrative): Narrating the Political Self Freire, Boal, Gutiérrez In his paper “Against Narrativity“ (2004), Galen Strawson proposes a somehow The presentation examines three differ- in Humanities on University of Osaka. Currently holds the position of the Associate Professor in controversial, if not counterintuitive, ent narrative discourses of oppression/ stance which contradicts not only common oppressed, fully present in the works of World Literature and Theatre and Performance Studies on Faculty of Humanities and Social sense, but also a great part of philosophi- Paolo Freire, Augusto Boal and Gustavo Sciences, University of Zagreb. Regularly teaches cal reflection on the nature of the self. He Gutiérrez. It evokes these discourses, abroad, as a fellow, especially on University of To- claims: “Narrative tendency to look for forming the propulsive epistemic field(s) kyo, Osaka, Warsaw, Krakow and Ljubljana. Pub- story or narrative coherence in one’s life lished six books and around fifty research papers. of pedagogy of the oppressed, theatre of is, in general, a gross hindrance to self-un- the oppressed and liberation theology, in Main fields of his interest include performance studies, theory and history of drama, theatre an- derstanding”. Moreover, he continues “the the context of their own critical, theoret- thropology, interculturalism and cultural studies. more you recall, retell, narrate yourself, ical and performative strength, derived the further you are likely to move away from Hegel and the Frankfurt School, from accurate self-understanding, from mainly Ernst Bloch, and Antonio Gram- the truth of your being”. Although he only sci and Franz Fanon. The research will elaborates psychological Narrativity thesis also try to (re)consider the influence and ethical Narrativity thesis – which by of these narrative/theoretical/epistemic definition presuppose individualist meth- paradigms in the context of contemporary odology – I will apply his arguments on thinkers of the subaltern and performa- the field of politics. More precisely, I will tive, mainly Gayatri Spivak and José Es- try to show in what ways his advocacy of teban Muñoz. Central figures of Freire’s, “happy-go-lucky” attitude towards one’s Boal’s and Gutiérrez’ discourse will thus self-understanding can be useful in exam- be put, in a broader sense, against the ining political positions and ideologies. wall of performance studies epistemology sui generis. Concepts of class fluctu- Keywords: ation or inter-and trans-gender clusters, identity, self, narration, Strawson, Marxism, to name just a few of them, will occur as ideology central to formation of ephemerae in the particular performance discourses (as Goran Pavlić teaches at the Dramaturgy Depart- ment of Academy of Dramatic Art in Zagreb. He case studies) and in the discourse of per- holds a PhD from the University of Zagreb. His re- formance studies in general. search interests include: theatre and performance theory, political theory, cultural criticism and cri- Keywords: tique of ideology. oppressed, subaltern, transcultural, performance, politics

Born in Zagreb, Croatia, in 1979. Finished his BA, MA (Comparative Literature, Croatian Language and Literature) and PhD on the Faculty of Human- ities and Social Sciences, University of Zagreb, in the field of Comparative Literature and Theatre Studies. Finished his postdoctoral studies in the Centre for Literary and Cultural Studies on Uni- versity of Tokyo and Centre for Conflict Studies 42 Mischa Twitchin Sreelakshmi Surendran 43 Postdoctoral fellow, Drama Department, Queen Mary, University of London, UK Researcher, Department of Humanities, Indian Institute of Technology, Kanpur, India [email protected] [email protected]

“The Mirror and the Corpse…”: The Kathasaritsagara: Some Reflections on the A Telling Text Phantasm of the Subject

In his meditation on “the library at night”, and perceptible, how does the narrative The Kathasaritsagara or The Ocean of per would be an in-depth exploration into Alberto Manguel offers a literally moving voice in this case mediate between cul- Streams of Stories, a collection of al- the different diegetic modes exhibited by thought-image for his sense of the sub- tural and embodied modes of knowing, as ready existing floating tales from the Pan- the text through storytelling contextual ject’s existence: an impossible river, one itself an example of what Latour calls “an chatantra, the Jatakas, the Puranas and frames from the angle of the teller, tale that flows in two directions at the same anthropology of the moderns”? Between the epics, compiled by Somadeva Bhatta and told. time. Captured in “the depth of the mir- such a voice and the “point of view” of a in around eleventh CE, is known for its ror”, however, this flow of light between mask, for example, how do we encounter srnkhala or chain narrative, a storytelling Keywords: microcosm and macrocosm, visibility and the subject of an essay, as the very phan- technique which migrated from India via contextual frame, narrator, listener, conversation, diegesis invisibility, the named and the unnamea- tasm of its alterity? And what becomes of Persia to the West. The narrative tech- ble, offers a narrative that both turns away such narratives in the age of digital me- nique of using frames that foregrounds I am currently pursuing my research in English from and returns to the human face. To be dia, through the seemingly disembodied the storytelling context mirrors the ‘con- discipline with Humanities and Social Science recognisable in one’s reflection(s) is also thought of simulacra and avatars that no text sensitive’ (A.K. Ramanujan) nature of Department in Indian Institute of Technology, the mark of the essay, where the narra- longer appear as reflections? Indian culture. The storytelling contextual Kanpur. I am a motivated and dedicated full time tive voice is parsed through the tempo of frame is ‘self-referential’ (A.K.Ramanu- researcher working for the institute. I am now into the fourth year of my research, having successfully its simultaneous appearance and disap- Keywords: jan) with its embodiment of the narra- completed the institutional formalities of two years reflection, essay, phantasm, subject, mirror pearance. In speaking of the subject, like tor-listener dynamics showcasing the of course work, comprehensive exam and state of a mask, these reflections also speak for process of the birth of a story through the art seminar on my research proposal: “Indian Mischa Twitchin is a British Academy Post-doc- it. The subject here is, in fact, a citation conversations. Conversation, as a pre- English Novels: Streams from the Kathasaritsaga- toral Fellow at the Drama Dept., Queen Mary, of Foucault, through the example of an text for storytelling, is a mirrored motif ra“. Achievements: Holder of National Eligibility University of London: http://www.sed.qmul.ac.uk/ Test (NET) in English, June 2012. Presented a essay-film entitled “The Utopian Body”: throughout the text, right from the over- staff/twitchinm.html. His book,The Theatre of paper “Mirrored Telling of the Epics in the Kath- https://vimeo.com/178221335 (Eng- Death - The Uncanny in Mimesis, is published by arching outermost metafictional framing asaritsagara” at University of Hyderabad for the lish); https://vimeo.com/177274641 Palgrave Macmillan in their Performance Philos- chapter, the ‘Kathapitha’. The contextual national conference “Epics in India: Transforma- (French). In this example of montage, ophy Series. Besides his academic work, he also frames with its foregrounding of the tell- tions, Mutations and Adaptations”, held from 24th makes performances and essay films, examples of of August 2016 to 26th of August 2016. I am how does the performance of narrative which can be seen on Vimeo: http://vimeo.com/ ers or the narrators, projects the trans- offer an instance of Mieke Bal’s sug- mission of stories through the tangles of member of Indian Association for Commonwealth user13124826/videos. Literature and Language Studies (IACLALS). gestion of not “privileging any medium, different telling voices, via conversations mode, or use” over another when placing which are brought about through leisure, the question of such a narrative? What chance meetings, necessity of the situ- remains culturally particular in these re- ation, etc. The text navigates circularly flections, “not [as] a genre or object but a with returns to the story initiating voices cultural mode of expression” [Bal], with- of the contextual frames. The contextu- out their narrative necessarily becoming al frames that embed the conversations auto-ethnography? How do Foucault’s and localize the teller, the tale and told “utopian” reflections concerning the body (already incorporated as a character lis- evoke a “reconstruction of subjectivity” in tener in the frame), lend a performative the flow between words and images in dimension to the story. The conversation- the film, without the one ever becoming al frames, by becoming the textual route an illumination (still less an illustration) for the flow of story waters, give a gos- of the other? As if between the intelligible sipy style to the text. The crux of my pa- 44 Ofer Peres Sibila Petlevski 45 PhD student, Department of Comparative Religion, Professor, Academy of Dramatic Art, University of Zagreb The Hebrew University of Jerusalem, Israel [email protected] [email protected] Historiographic Narration and (Post)Narrativist The Weeping King and the Nymph: Philosophy of History South Indian Strategies of Narrative Adaptation

This paper is a continuation of my re- kanen 2015:198). Although my critique Among the ancient narratives of the San- cultural transformations and migrations, search on the nature and role of narrative of Kuukkanen’s thesis is mostly oriented skrit tradition, the famous legend of Ur- while others become defragmented or in historiography, historical fiction, and toward dismantling the prejudice about vaśī and Purūravas stands out as one of simply disappear? I argue that one as- historiographic metafiction, focusing on the supposed irrationality of the narrative the very few that have been repeatedly pect of the answer depends on the meth- the contemporary methodological (and practice of storytelling – the main re- re-told and re-worked from Vedic times ods and strategies of narrative adaptation narratological) problems related to an proach is found in the fact that “post-nar- to this day. Modern scholarship tends to that exist in the “target societies” to which extensive and diverse “heritage” of his- ratology” adheres to the prenarrativist focus either on the ancient Vedic versions a narrative travels. toriographic insights into the topic of the conception of logic with clear bias in of this narrative or on the celebrated In this paper I present three different Great War. An important goal of this pa- speech-act theory and pragmatics, and Vikramorvaśīyam, one of the three surviv- models of narrative adaptations in the per is to test the philosophical possibility that all the three dimensions of rational- ing plays of the renowned Sanskrit poet crossing from Sanskrit to Tamil of the fa- of a rational historiography beyond the ity that makes the appeal to “truth” out Kālidāsa. Later tellings, especially those mous Indian story of Purūravas. I examine concept of truth on the concrete histori- of question (the epistemic dimension, the composed in vernacular languages, re- adaptation of this story in three different ographic material. The basis for the cri- rhetorical dimension, and the discursive ceive little to no attention. This neglect, traditional pre-modern literary genres: tique of the concept of postnarrativism dimension) could be actually found and however, is unfortunate: in addition to Tamil temple mythology, Tamil court po- is in Jouni Matti Kuukkanen’s book Post- analyzed on concrete examples from the their inherent literary value, these tellings etry and Tamil folk narrative. I show how narrativist Philosophy of Historiography historiographic narration both within and can be used as cultural indicators that ex- each of these adaptations uses very dif- (2015) with its tripartite theory of justi- beyond the academic study of historical pose shifts in the literary tendencies, be- ferent strategies to modify the story to events, as well as in the analysis of some liefs, and world views that characterized maintain the basic structure of the San- fication. Kuukkanen says that “the plausibility of a historical thesis depends on fiction-faction narratives, and hybrid gen- the “classical” narratives. skrit narrative, and simultaneously fit it res, including German docudrama whose Throughout the first millennium CE to its own moral and religious standards. its impact within the argumentative field”, but there is hardly anything new in that chief goal is in the relativization of the Sanskrit has been the dominant language These models provide an insight into the ideologically promoted “truths” and his- of culture and political power: although a conceptions of narrative, translation and claim since the argumentative logic of plausibility works well for the entire field toriographic interpretations that do not “dead” language, it was the standard lan- adaptation in pre-modern South India, recognize the fact that rational standards guage for court literature and scientific and add an effective point of reference for of humanities and for other descriptive sciences, as well as for the construction of inquiry are not enough to eliminate treatises, for royal inscriptions and for lit- future comparative research on the tradi- ideological, cultural and personal bias in urgy. Despite this dominance of the San- tional narrative adaptation strategies. of explanatory models in social sciences. Abductive, as knowledge-based reason- historical description, interpretation and skrit, Tamil, the language spoken at the explanation. southern tip of the Indian subcontinent Keywords: ing is an “inference to the best expla- (and the present-day state of Tamil-Na- India, Sanskrit, Tamil, adaptation, myth nation” (Harman, 1965: 88-89), a sort Keywords: du), has always been a well of literary of guessing by a process of forming a historiographic metafiction, historiographic Ofer Peres is a PhD Candidate at the Department creation and development, which exist- plausible hypothesis that explains a given narration, Kuukkanen, methodology, of Comparative Religion, The Hebrew Universi- set of facts or data. Generally speaking, postnarrativist philosophy of history, ed, and was continuously produced side ty of Jerusalem. Dissertation topic: “Urvaśī and World War I by side with the Sanskrit literature in the Purūravas: A Cultural Biography of a Traditional basic scientific literacy depends on the Tamil speaking region. Indian Narrative”. MA at the Department of Com- ability to evaluate scientific claims and Sibila Petlevski, is a full professor at the Acade- Narratives are dynamic entities. They parative Religion, The Hebrew University of Jeru- evidence in texts and in argumentative my of Dramatic Art, University of Zagreb; doctor travel, develop and change, some with salem. Thesis topic: “Prajāpati and Death: A New contexts relevant for the chosen field of of humanities and scholar in the fields of theatre Interpretation of a Mythological Narrative from the notable durability while others, not nec- research. Kuukkanen sees the transition aesthetics, performance studies, interdisciplinary Jaiminīya Brāhmaṇa”. Research fields: Vedic myth art research and cultural studies; born in Zagreb essarily less fascinating, are short-lived. and ritual, Purāṇic mythology, medieval Tamiḷ lit- from narrativism in regarding historiogra- (Croatia), 11th May 1964. Apart from her academ- What is it that enables some narratives erature, Tamiḷ folk literature. phy ”as a type of rational practice and not ic and scientific career, Petlevski is a professional to survive for many centuries, through as a kind of narrative storytelling” (Kuuk- writer: an awarded poet, playwright and novelist, performer, and literary translator. Awards: Olga Markič 47 Zagreb City Award for Contribution to Culture Professor, Faculty of Arts, University of Ljubljana, Slovenia and Science (2015); 10th Women Playwrights’ [email protected] International Cape Town selection (2015); T-por- tal Award for the Novel of the Year for the first part of “Taboo Trilogy”. (2010); Poeteka Inter- Narrative as a Tool for Sense Making: national Poetry Prize (2005); Berliner Fest- spiele TTStückemarkt selection (2005); Petar From Folk Psychology to Science Brečić Award for Contribution to Theatre Studies (2002); Vladimir Nazor State Award (1993). Professional membership: L’Académie Mallarmé, Philosophers of mind have widely dis- development of the joint degree Middle European Poets Circle in Athens, International P.E.N., Inter- cussed the status of folk psychology: Interdisciplinary Master Program in Cognitive Sci- national Theatre Institute, Croatian Association from eliminativists like P. Churchland ence (MEi:CogSci). She is lecturing at the Philos- of Theatre Critics and Theatrologists. Currently ophy Department and at Mei:CogSci program. She leading an international project financed by Croa- (1981) who thinks that science, par- has been a visiting professor at Budapest Semes- tian Science Foundation, titled “How Practice-led ticularly neuroscience will eliminate old ter in Cognitive Science, Eötvös Loránd Univer- Research in Artistic Performance Can Contribute fashioned folk psychology, to realist like sity, Budapest (2004 - 2007) and has lectured to Science”. Member of the international Advisory Fodor (1987) who views folk psychology at various European Universities (Krakow, Prague, Board of Interdisciplinary Description of Complex as a good theory which will become bet- Vienna, Valencia, Sofia, Bratislava, Sarajevo). Her main areas of research are Philosophy of Mind, Systems INDECS Journal. More information at: ter by new insights of empirical cognitive www.sibilapetlevski.com Philosophy of Cognitive Science and Neuroethics. science. In contrast to these standpoints She has published articles in Slovene and English. I will present an approach proposed by Her two main books are Cognitive science: Philo- Bruner who has argued that “the organiz- sophical Questions (2011, in Slovene) and Mind in ing principle of folk psychology [is] nar- nature: from science to philosophy (with M. Uršič rative in nature rather than logical or cat- and A. Ule, 2012). egorical” (Bruner, 1992, p. 42). On this view narrative serves as a tool for understanding and explaining the conduct of persons, furnishing us for building mental models which by varying perspective and attitudinal stance help us to interpret actions. I will suggest that we need narrative also for helping us to make sense in interpreting scientific results, especially for broader public. I will focus on the role of metaphors and analogies and compare narrative reasoning with a more strict data driven reasoning. Together with Herman (2013) I will conclude that narrative might play a meeting point for three cultures (natural science, social science and humanities) as described by Kagan (2009).

Keywords: folk psychology, narrative, mental models, analogical reasoning, three cultures

Olga Markič is professor of philosophy at the Fac- ulty of Arts, University of Ljubljana. She obtained her PhD at the University of Ljubljana (1998) with the thesis “Connectionism and the Philosophy of Mind”. She was participating in the curriculum 48 Boris Kožnjak Mirela Holy Mary Geiger Zeman Zdenko Zeman 49 Researcher, Institute of Philosophy, Zagreb VERN University, Zagreb Ivo Pilar Institute, Zagreb Ivo Pilar Institute, Zagreb [email protected] [email protected] [email protected] [email protected]

Narrative in Science: Facts and Fiction in the Communication Informative and Formative Aspects Environment of the Brave “Wild” World

Although traditionally working scientists Kožnjak 2013). The main purpose of do not place great value on narratives the proposed presentation is to analyze For several decades, science fiction (SF) has in spreading of the American (cultur- in modern natural sciences, in fact, they the informative and formative, regula- is not only a profitable genre, but is also al) propaganda. seem to be even hostile to storytelling tive aspects of such storytelling, ‘heroic’ a very inspiring topic in academic discus- in and about working science (see, e.g., accounts of science, characterized by sions and analysis of the various social Keywords: Katz 2013), the origin of which seem to inaccurate dramatizations and roman- and humanistic disciplines. One of the popular culture, science fiction, Westworld, structural analysis, myth, propaganda, be their common belief in science as an ticizations of science and scientists in key issues is in which extent SF is a pro- indoctrination ‘impersonal search for truth’, as well as monumental proportions (Allchin 2003; jection of the future (Podeschi 2002), their hermetic attitude to the sophistica- Milne 1998), in light of the formal struc- and in which extent it is a radicalized Mirela Holy, PhD, professor at the University tion of modern natural sciences - in re- ture and pragmatic function of the myth reflection of the current world (Lavigne VERN in Zagreb, graduated in ethnology and liter- cent times a considerable attention has (Eliade 1963; Rowland 1990), as well 2013; Geiger Zeman, Holy & Zeman ature. She has been active in the ‘green’ movement nevertheless been given to the need of a as an activist and writer, as a Head of the Cabinet as in light of the general constructivist 2016). Podeschi (2002) considered SF and as a Minister of environmental protection. She ‘narrative turn’ in science (see, e.g., Dahl- framework of the function of narrative movies as an extremely politicized genre was a member of the Croatian National Parliament strom 2014; Downs 2014; Olson 2015), (Bruner 1991), and finally, to put them and certain “myths of the future” that may in two mandates. especially concerning the communication into the perspective of the philosophical have a dual function: on the one hand of science processes and the results to and psychological accounts of science in they can legitimize the current crisis, on Marija Geiger Zeman, PhD, sociologist, works at the Institute of Social Sciences Ivo Pilar in Zagreb. the general public in order to make them the works of Thomas Kuhn (Kuhn 1962) the other they can present social, cultur- more accessible, comprehensible and In her professional work she is interested in gen- and Abraham Maslow (Maslow 1966; al, political and economic alternatives der issues, aging, socio-cultural aspects of sus- transparent. Somehow a more relaxed see Kožnjak 2016). that have emancipatory potential. The tainability, marginalized populations and qualita- approach to narratives in science can be focus of the analysis is SF crime west- tive methodology. In 2009, she received National found in the domain of science education Keywords: ern series Westworld (ed. Jonathan No- Science Award of the Republic of Croatia in the field of social sciences. and science popularization (e.g., Strube narrative explanation, science, science myths, lan and Lisa Joy, HBO, 2016), that was 1994; Metz et al 2007; Avraamidou & philosophy of science, psychology of science inspired with the eponymous movie from Zdenko Zeman, PhD, sociologist and philosopher Osborne 2009; Clough 2010; Hoffman 1973 (dir. Michael Crichton). This series Boris Kožnjak is a historian and philosopher of at the Institute of Social Sciences Ivo Pilar in Za- 2014; Norris et al. 2015), in particular science at the Institute of Philosophy in Zagreb. that is very complex in the genre sense of greb. In his professional work he has developed in using historical and biographical ex- After graduating physics at the Faculty of Science, the word provoked ambivalent criticism, interest in sociological theories of (post)modern- planation in science textbooks and in University of Zagreb, he obtained his MPhil and but has also thematized a number of im- ization, aging, gender issues, and socio-cultural popular science books and publications PhD in philosophy at the Faculty of Humanities portant philosophical, social and political aspects of sustainability, with the empirical work based on qualitative methodology. in order to enhance scientific literacy. and Social Sciences, University of Zagreb. He is issues that particularly highlighted the However, in realization of this ‘narrative the author of the book Experiment and Philoso- issues of technology, relationships be- turn’ in science one can find a striking phy: Experimental Method between Ontology and tween Others and members of elite, sub- Technology, Epistemology and Ideology (Zagreb, discrepancy between what science com- 2013; in Croatian), and author of numerous arti- jectivity, individual freedom, autonomy municators, educators and popularizers, cles in international journals in his field of work, and, finally, the meaning of life. Because on the one hand, and professional his- which can be described as an attempt at integrated of that, this popular television series calls torians and philosophers of science, on metasciences, comprising not only history and phi- for an interpretation from the position of the other, seem to know about the history losophy, but also sociology and psychology of sci- the structural mythical elements as well and methodology of science, where the ence. Some of his most recent articles are articles as communication content analysis with “Who let the demon out: Boscovich and Laplace on former tend to perpetuate certain stories special emphasis on the critique of prop- determinism’, Studies in History and Philosophy of from the history of science that the latter Science A (2015), and “Kuhn meets Maslow: the aganda that is visible from the discourse have long ago identified as myths (see, psychology behind scientific revolutions”, Journal of series on the one side, and on the oth- e.g., Brown 2006; also Kožnjak 2012, for General Philosophy of Science (2016). er side regarding the role that this series 50 Vladimir Cerić 51 PhD student, University of Arts in Belgrade, Serbia [email protected]

Space and Storyworld in Epic Fantasy

Space could be a significantly important the closest to the center display the world Keywords: aspect for establishing relations among that is both metaphorically and physical- storyworld, space, place, fiction, epic fantasy the characters in any story, and an im- ly divided by borders within the certain Vladimir Cerić (1983) is PhD candidate at the portant element in creating a storyworld. text. Marie-Laure Ryan, Kenneth Foote, Faculty of Dramatic Arts (University of Arts in Thereby, through narration (books, mov- and Maoz Azaryahu use post-structural Belgrade), working as a teaching assistant since ies, radio dramas or computer games, or division of space through metaphors of 2007 at the School of Electrical Engineering and combined through the process of trans- containers and webs. In the first case, the Computer Science of Applied Studies. He holds media storytelling), or directly through space is a limited ambient bounding the BA in Applied Informatics (2009) and Audio and Video Technologies (2006), and an MA in Theory characters’ dialogue, they could all cre- character, whilst the other represents a of Arts and Media (2011). Main fields of research ate references within the storyworld (that dynamic ambient for a character’s move- are transmediality, transmedia and digital story- can be related to the one in the real world, ment also shaping his/her personality. telling and cinema studies. establishing a correlation with theories of In fiction, and epic fantasy especial- possible worlds). ly, the ontological division starts from a The difference between place and space that is real (our world), while its space (Michel de Certeau) could be opposite is some kind of a real world comprehended as a relation between a where supernatural beings live (e.g. subject and an object, treatment of living dragons in Game of Thrones). Some- and still, recognizing borderline cases times, a bridge between these worlds is in fiction, performing the processes of very important for the plot, where char- anthropomorphism and deanthropomor- acters can pass or be detained creating phism respectively. a new architectural or strategic fictional Space in a certain media text, can be space. Within the storyworld, the borders observed as an object of representation represent an important factor for plots within the ambient where the narrative is within fiction narratives that are usually developed, or a media where the narra- complementary with other factors such tive is implemented from within. A nar- as: class divisions, ontology or biology rative space is a physical ambient where of certain actants. Thanks to setting up characters live, move, and it represents boundaries and zones, imposed by spe- the preconditions for creating a story- cific laws within the world, illegal border world. Space can outline the world’s con- crossing facilitates the development of text (e.g., a legislative, an ideology) or the story (e.g. islands, continents, gal- be its reference (e.g., a travelogue). The axies, portals). Vast or unexplored coun- references can include some well-known tries usually include more or less porous locations that refer to important historical borders. Such borders represent a con- sites, or to famous myths and legends. stant threat; they are grounds for easy The structure of plots related to the plot making that later build up into wars, space can be observed as concentric cir- migrations or adventure. Epic fantasy cles, where the circle the furthest from usually exploits these practises of illegal the center represents only certain bound- border crossing, since they serve to build aries within space, while the inner circles, up safeness and constant threat. 52 Katarina Damčević Lianna Mark 53 Assistant at the Department of Cultural Studies, University of Rijeka, Croatia PhD student, King’s College London, UK [email protected] [email protected]

Communicating Polyamory “The Discourse of [Staged] Narrative”: through Obscene Language Caryl Churchill’s Escaped Alone

The paper presents a potential mode of which would lead to the embodiment of a My paper will outline and explore what I My conclusion will touch on the po- communicating a polyamorous identity novel cultural mode of behaviour. identify as a recent trend in contemporary litical significance of this aesthetic lan- within a predominantly monogamous cul- British playwriting: namely, a dramatic guage. By inscribing it within the wider ture. This will be problematized using the Keywords: language that emulates novelistic form, sphere of the contemporary economy of example of the self-help book titled The polyamory, obscene language, text, moving away from a more traditional mi- representation, I will read this self-con- reappropriation, culture Ethical Slut: A Practical Guide to Poly- metic mode of theatrical expression and scious narrative stance as a means of amory, Open Relationships & Other Ad- Katarina Damčević graduated from the Cultural bringing the plays’ narrative structures to disrupting the manipulative hyper-narra- ventures (2009). The authors’ agenda is Studies department at the Faculty of Philosophy, the fore. Adopting the constraints of nov- tivization of social discourse, often con- to reclaim pejorative terms such as slut University of Rijeka, in 2014. During the studies elistic storytelling – i.e., a prevalence of sidered symptomatic of a disengagement and fuck and provide them with new, pri- in Rijeka her work focused mostly on consumer diegesis, clear focalization and complex with reality. marily positive connotations. culture studies, commodification of marriage and anachronies defining the relationship be- theories of everyday life. She attended summer We will introduce and discuss the schools in Latvia, Norway and Estonia in 2013, tween the time of the story and the time Keywords: Caryl Churchill, storytelling, narratology, latter by providing examples and outlin- 2014 and 2015. In autumn 2014 she continued of the narrative – these plays seem to representation, hyper-narrativization ing the proposed functions of obscene her MA studies in Tartu, Estonia, and graduated in boycott the liberties of expression grant- 2016 at the Department of Semiotics where her language present in the chosen object of ed by the theatrical medium, disrupting Lianna Mark is a LAHP-funded PhD student in the curiosity about language further developed. Her analysis (enlightening function, perform- the realist language that maintains, none- English department at King’s College London, un- research interests include obscene language and ative function, function of normalization theless, its mimetic vocation. der the supervision of Prof. Alan Read. Coming taboo practices, cultural semiotics, applied meth- from a background in comparative literature, her and imaginative function). The direction ods for linguistic analysis, Slavic languages. She As an illustration of this phenomenon, research explores staged counter-narratives in we intend to follow can be summarized is currently working as an associate at the Depart- I will offer a narratological close reading contemporary British theatre. as: text narrative → culture. Based on the ment of Cultural Studies in Rijeka. She published of Caryl Churchill’s recent play Escaped proposed functions of obscene language, papers in Croatian journals Zarez and Socijalna Alone, which premiered last year at the we will discuss if and how they constitute ekologija: journal for environmental thought and Royal Court Downstairs in London to sociological research. a base for the text → narrative → culture immense critical acclaim. I argue that transfer, consequently enabling the pro- Gérard Genette’s tripartite system of cess of reappropriation. The theoretical narratological analysis, comprising of framework we rely on lies in the contribu- “tense”, “mood” and “voice”, and focus- tion of Tartu-Moscow Semiotic School, ing on the relations between story, narra- mainly Yuri Lotman’s perspectives on text tive and narration – the latter correspond- and culture. Accordingly, we will exam- ing, in theatrical terms, to performance ine whether „The Ethical Slut“ as a text – proves effective in breaking apart the predominantly serves a communicative components of Churchill’s dramatic text. function, i.e. as transferer of information, I will look at the play’s three degrees of or a creative function, i.e. as generator narrative, its complex shifts in focaliza- of new information (Semenenko, 2012.), tion and the various framing devices that and how this influences the process of shape its structure. The applicability itself reappropriation. In this respect culture of these narratological tools seems to me is considered as the long-term memory a significant indication of the text’s quasi of a community (Lotman, Uspensky, Mi- novelistic form, and calls for a questioning haychuk, 1978.). The latter perspective of the stigma attached, in recent British proves relevant for the topic since it rais- scholarship, to any discussion of theatre es the question of conditions to be met as a fundamentally textual medium. 54 Anđela Vidović Andrea Fenice 55 Independent researcher, Zagreb PhD student, Università di Roma Sapienza – University of Rome, Italy [email protected] [email protected]

Twists and Turns in Narrating Violence: That Elusive Thing – Rhythm in Narration From Booming ‘90s to Conformist ‘00s and Why Is It often Overlooked

In-yer-Face Theatre (Sierz, 2001) in erz, 2011), social inclusion and later real Rhythm is a feature that every reader, tension towards a closure that may result the decade that never found the name, desire for angry, urgent, left-wing polit- listener or watcher can recognize and in an emotional and aesthetic response. the ‘’noughties’’, the ‘00s or simply “the ical theatre (Haydon, 2011). Contempo- comment on; even the most naïve audi- What is or is not relevant to each level, now”, is set to become the last move- rary plays are based on feeling of shared ence can identify a ‘slow’ or ‘fast paced’ and in particular to the narrative one, is ment in European theatre history which and unknown anxiety and trivialization of scene or narration. We might say that we not straightforward. Part of it depends on goes far beyond. The ‘90s were the time daily life (Angelaki, 2013). In this piece have an inborn feeling when rhythm is the structure of the text itself and can be of invention and boom, time of new writ- I will try to argue how shifting trauma in concerned. Nevertheless, when we come analysed using “classical” methods such ings which had an opportunity to thrive outer, rather than in inner motivations of as the Greimasian semiotics to highlight with authors of fueled confidence who characters, resulted in conformism of to- to narratological categories, this aspect adherence of the text to the canonical reflected on the world in which they day’s theatre. is likely to be neglected or dismissed narrative sequence; however, identifica- found themselves in the language form of as an elusive element, if not completely overlooked. More often than not, the tion of relief and the resulting creation of pop culture (Gardner, 2016). Although Keywords: narrative tension requires a more com- new writings were tagged with sex and In-yer-Face, new writings, perspectives, timeworn concept of Genettian duration violence, conformism plex model reader than the one offered by violence label, they produced a wide is exhumed and we hastily skip to the the Genettian theory, who always reads range of voices including Roy Williams, Anđela Vidović (1987, Metković), an independent next paragraph; the label ‘rhythm’ is used at constant speed and with unfaltering Jonathan Harvey, David Harrower, Ayub theatre critic and researcher with MA in Philoso- metaphorically to indicate chronological concentration. Khan-Din, Martin McDonagh, Patrick phy and Croatian Culture. A member of Croatian exposition, but has little to do with the es- Association of Theatre Critics and Scholars, who Needless to say, the introduction of Marber and David Grieg, to name just a thetic effect of recurring textual patterns wrote more than hundred theatre reviews and few. It was a real raging plurality of Brit- on the reader/viewer. the reader’s mind into the equation shifts essays for various media from arteist.hr, Artos, the study of rhythm, moving the research ish theatre, led and defined in the minds howlround.com, kritikaz.com to planb.hr. She was If rhythm is to remain a useful term, in a realm in between classical narratol- of many by its new plays (Haydon, 2011). selected as official young critic of Ganz New Fes- a definite turn in its investigation is es- However, some would argue that asking tival (2014) and participated in IATC Young Crit- sential; one possible course is set by the ogy and the fields of cognitive and the a new writing for the theatre refers to ics’ Seminar in Cluj, Romania (2014). In following semiotician Barbieri. His powerful intui- so-called experientiality narrative, thus months she’ll be visiting Theatertreffen (Berlin) a state of crisis (Billington, 1991), and tion is that rhythm has little to do with a opening a wide range of unexplored pos- and apply for PhD Candidate at Kunstuniversi- that in voyeuristic glamorization of vio- numerical proportion between the time sibilities. Rhythm as a function of nar- tät Graz. Recent publications include: 51. Boršt- rative tension has several advantages. lence was no hope for political and social nikovi susreti 2016.: jučer, danas i sutra (Artos, of the story and the time of the narra- changes which consequently led to pessi- 5, Osijek, 2016.), Brušenje talenta festivalskim tion. Anisochrony – the core concept Firstly, it is cross-level and cross-media: mistic and nihilistic perception (Angelaki, programom (Artos, 2, Osijek, 2015.), Prožiman- of rhythm as duration – is not a faithful it can be identified on all textual levels 2013). Narrating violence came from dif- je Nietzscheova Zaratustre u Krležinu opusu na measure of the structural tension we ex- from syntax to deep narrative and it is a primjeru Davnih dana (Kroatologija, Vol. 3, No. 2, perience as readers/viewers. This insight feature that can be preserved in adapta- ferent perspectives of inner revolt against 2012, 85 – 107). consumerist spectacles of global capital- requires, of course, a new definition of tion. Thus, what makes a good adapta- ism (Rebellato, 2013), or inner struggles narrative rhythm, which takes into action may depend, at least to some extent, (Kane, 1999), but remained focused in count the effect of the text on its implied on how rhythm is transferred. A second fresh and boundary-breaking writings. reader. What should be considered is possible outcome of this research line, After Lehmann’s Postdramatic Theatre not the amount of fabula time portrayed closely connected to the first, is a study (2006) we are taking the twist and turn in a selected portion of text, but what in on reception, which could explain the di- from a text-driven to postdramatic narra- Weinrich’s theories is called relief: a fea- achronic shift in the audience’s taste with tive. Narrating violence is no longer inner, ture present at every textual level, cre- reference to the pace of narrations. but outer voice of issue based dramas ating a contrast between foregrounded (Howe Kritzer, 2008), writings against elements and the background. The rep- Keywords: Postclassical, Rhythm, Tension, Experientiality, traditional and stereotypical images (Si- etition of such elements creates a formal Intermediality I have MA in Languages and Cultures for Inter- Ljubica Anđelković Džambić 57 national Communication from Università della PhD student, Faculty of Humanities and Social Sciences, University of Zagreb Tuscia, Viterbo; I am currently a second-year [email protected] PhD student at Sapienza – Università di Roma, in Rome, in the Department of European, Ameri- can and Intercultural Studies. My research project Narrating the Self in Facing aims at studying Joseph Conrad’s works under a narratological perspective, focussing on temporal Personal Trauma through Art: devices used in his narration and in particular on Artist Satan Panonski rhythm. Currently, I am concentrating on devising a theoretical background on which to base my future research. My short-term objective is to de- Ivica Čuljak, better known as Satan Pan- ist deals with his own traumas. In doing velop a definition of narrative rhythm that blends classical studies on textual structure with recent onski, worked on the margins of artistic so, the attention will be put on the topic of developments in the fields of cognitive narratolo- events from the late 1970s until 1992 the body, that is the distinct “physicality” gy, experientiality and semiotics. My final purpose as a multidisciplinary artist. Today, he is of this poetry, as the main link between is to apply such theory to Conrad’s works and to considered to be the pioneer of auto-de- the two narratives. their adaptations in different media. structive body art in the history of Cro- Since the poetic subject is equated atian performance art. His controversial with the artist himself in this extremely status resulted from life circumstances self-referential poetry, it turns out that, inseparable from his art: as a convict for in Čuljak’s case, the verbal production of murder and an artist with a mental illness, physicality through poetry is not sufficient he had to carry out his artistic activity in to release the accumulated emotional a psychiatric hospital for a longer period pain, even at the end when the topic is of time. His status of a queer and affilia- brought to its final travestied form. There- tion to punk culture also contribute to this fore, as it will be shown, the ultimate goal aura of a stigmatized artist. is achieved only in a different genre/nar- Čuljak’s artistic expression is based rative: the body art performance. When on the concept of performativity, in which a word becomes an insufficient carrier of art becomes a medium of communicating messages, its function is taken over by one’s truth through which the “wound- the body, and during the performance, ed” identity / the identity of the Other poetry is transferred into a brutal, au- is re-created with the ultimate aim of to-destructive body art, during which the achieving its social recognition. At the embodiment of self-directed violence basis of Čuljak’s creative work stands the occurs. Thus, the two narrative transfers conversion of all segments of his own life (internal/mental – external/physical and into a narrative tissue, which is, depend- word/poet – body/performer) are need- ing on the chosen genre/type, expressed ed to express one’s own trauma in order by using different narratives. to achieve the intensity of experiences This presentation will focus on the re- that can produce a cathartic effect not lationship between two types of trauma only on the artist, but also the audience. narratives – poetry and self-destructive body art. In Čuljak’s case, poetry is inter- Keywords: Croatian Performance Art, Auto-destructive preted as the starting point of other types Body Art, Art of Personal Trauma, of performative art, but this relationship Performativity, Performative Poetry is reciprocal as well. It will also be shown that several key topics are treated in a Ljubica Anđelković Džambić (1974) graduat- manner in which it is possible to see the ed from Comparative Literature and Philosophy (1998) and Theatre Studies (2001) at the Fac- gradation/radicalization of each topic to ulty of Humanities and Social Sciences, University the point at which it turns into a travesty, of Zagreb, where she is currently enrolled in the which is one of the ways in which the art- PhD study of Literature, Performing Arts, Film and Culture. The topic of her dissertation is Satan Jurga Jonutyte 59 Panonski’s Body of Resistance: Auto-Destructive Associate Professor at Vytautas Magnus University, Kaunas, Lithuania Body Art in Croatian Performing Arts and Prac- [email protected] tices, which analyzes marginal phenomena in Croatian performance by using a multidisciplinary approach based on linking the performance theo- Telling and Re-telling: ry and the theory of applied theatre, and provides a chronology of auto-destructive body art in the Reasons of Conflicts in Croatian performance art. Currently, she is em- the Narratives of the Past ployed as an expert associate for theatre production at the Academy of Dramatic Art in Zagreb, and as an associate at the Croatian Radio and Tel- The research which served as the basis 2. The phenomenon of the third gen- evision (HRT). From 1998 to 2004, she taught philosophy, ethics, literature and logic in high for presented observations was per- eration in the circulation of memories: it school. Since 2000, she has published numerous formed in the multicultural borderline is observed that memories (especially literary and theatrical reviews in Vijenac and other communities of Lithuania. The object of traumatic memories) of exactly the third journals for culture. As an external associate-lexi- this research is circulation of the memory generation become notably conflicted. It cographer, she participated in the making of Cro- narratives and its influence on the individ- happens when people, who are not eye- atian Biographical Lexicon (area of the history of Croatian theatre, literature and philosophy) and ual identity and on the social ties in the witnesses and who cannot remember the Theatre Lexicon of the Lexicographic Institute community. Memory acts as a consolida- neither the event nor the environment Miroslav Krleža in Zagreb. She is a member of the tor of various ethnic, religious, or linguis- of this event, associate or even identify organizational team of international film festival tic groups, particularly following previous themselves with something what hap- Tabor Film Festival, and a member of the Croatian political conflicts in result of which these pened to their relatives. They imagine the Association of Theatre Critics and Scholars. groups had been distinctly separated. event without all the density of memory The presentation will offer two main of an eyewitness and what they do is to topics for the discussion: confuse the institutional history written 1. This discrepancy between the in- in textbooks with the individual memory. itial painful articulation of memory (i. The essence of the third generation phe- e. when a person upon sudden inquiry nomenon is such that the third genera- starts telling his / her memory for the tion transfer memories from the past into first time after many years elapsing from present, but include into these memories the event in question) and the subse- stylized and simplified political structures quent well-constructed, continually pon- taken from the history textbooks. The dered upon and increasingly polished conflictedness of the remembrances in- narratives. It constitutes perhaps the creases as much, as strict and as rigid as most interesting and intriguing point of the rules and frames for the interpretation the research introduced in this presenta- of the past are. tion. It is best revealed by analyzing the The purpose of my paper is to discuss form of the recorded narratives. When these above-mentioned ambiguities and visiting the same informants repeatedly to show the intricacy of the conflicted after several months or even years, it memory, its unconscious transformations becomes evident how narrative is trans- and its conscious development. formed by the mind of the same narrator

and what course its polishing takes. Cu- Keywords: riously enough, polishing and growing identity, narrative memory, historiographical precision of articulation in the narratives narrative, trauma, conflicted memory dealing with the political events of the Jurga Jonutyte has a doctoral degree in Philoso- past, rather than approaching the polit- phy and works as the associate professor at the ical logic of the historiographical narra- Faculty of Political Science and Diplomacy, de- tive, increasingly distances the narrative partment of Philosophy and Social Critique, at from it. Vytautas Magnus University (Kaunas, Lithuania). Scientific interests of J. Jonutyte are: contempo- Mario Županović 61 rary social and political philosophy, philosophical Postdoctoral researcher, Department for Iberoromance studies, University of Zadar, narratology, theories of memory, philosophical [email protected] conflictology. Since 2004 J. Jonutyte conducts fieldwork-based investigations of oral memory narratives, focused basically on memories of conflicts Narrating Trauma in Latin American and memory narratives of peripheral social groups. J. Jonutyte is an author of the scientific monograph Women’s Cinema Changes in the Concept of Tradition, co-author of two other scientific monographs; she constantly publishes academic articles and translations. The paper deals with the topic of trauma vagina is a symbol of her virginity, a tool and violence narrated through the films to fight the possible rape/torture but also of so called Latin American Women’s the barrier from the paternalistic exploita- Cinema that emerged in the 60’s of the tion of the female. On the other hand in 20th century and especially at the turn of Murat’s How Nice to See You Alive the the 21st century. The authors that will be narrative is achieved not by storytelling, discussed are: Lucia Murat from Brazil, plot or auteur vision but rather by multi- Marta Rodriguez from Colombia, Claudia tude of trauma and violence related so- Llosa from Peru and Lucrecia Martel from liloquies of different women. What has Argentina. Starting with Rodriguez’s film become evident throughout the analysis is The Brickmakers from 1972 the emer- a striking prevalence of iconographic and gence of women’s activist cinema dealing visual-anthropologic mediated contents with trauma entered into the public do- that overcomes the importance of textual main. The violence and trauma of the po- and story based narrative. The aforemen- litical victim is further elaborated in Lucia tioned women directors thus created an Murat’s How Nice to See You Alive from overtly different poetic and visual concept 1989 wherein the prison torture and its of narrating the trauma and violence es- aftermath is narrated through nameless pecially in comparison with highly politi- women. Family violence and the trauma cal, ideological and revolutionary agenda produced in paternalistic system is the of the male directors on the subject (Ro- kernel of visual expose in Lucrecia Mar- cha in Brazil, Duran in Colombia, Solanas tel’s Dead King from 1995. Finally the in Argentina and Lombardi in Peru). culturally and incestuously induced trau-

ma is narrated in Claudia Llosa’s films Keywords: Madeinusa from 2006 and The Milk of trauma, iconography, women’s cinema, Peru, Sorrow from 2009. Although these films paternalistic are contrasting in the terms of the genre, production, screenwriting and the dif- Mario Županović was born in 1981 in Split and ferent national background, they share a earned his MA in History of Arts and History in 2008. He earned his PhD in film studies in 2015. unique women’s approach to the subject He currently works at the Department of Ibero- of the female trauma and the violence romance Studies at the University of Zadar as a aimed at the female constituency. The postdoctoral researcher and teaches courses in paper aims at the analysis of the trauma Latin American cinema, Hispanic cultural studies and the violence from the perspective of and performance art. His publications focus on visual anthropology and the iconography Latin American film, identities and cinema (“De- of the narration. That means that sym- constructing Cholaje in Bolivian and Peruvian Cin- ema”, 2016, “Blurring the Other in Memories of bols and artifacts of the oppression and Underdevelopment and Pixote,” 2015; “Politics of trauma are located and analyzed through Memory: a Study in Latin American Revolutionary their visual and symbolic potential and Cinema,” 2013), among others. He authored or di- connected with their narrative output. For rected theatre/performance pieces PAT-A (2005), example, the potato that the protagonist Konstantin (2006), The Man and His Machine of The Milk of Sorrow Fausta puts into her (2007), and Symposium/Disintegration (2010). 62 Dunja Plazonja Ivana Buljubašić 63 PhD student, Faculty of Humanities and Social Sciences Zagreb, University of Zagreb PhD student, Faculty of Humanities and Social Sciences, [email protected] University of J. J. Strossmayer, Osijek, Croatia [email protected] Narrative and Myth: Paratext in Narratology and Giving Voice to Penelope in Its Usage in Fiction Margaret Atwood’s The Penelopiad The aim of this paper is to explain the pain literary criticism. Her interests are focused on ratext’s place in contemporary narratolo- the theoretical approach of paratexts and its forms Published in 2005 as part of Canon- telling her story from Hades. This paper gy, and to try to include the interpretation in literature, literature of constraints and Croatian contemporary fiction and poetry. gate publisher’s worldwide initiative for will focus on the notions of how the voic- of paratextual elements considering their world-renowned authors to rewrite fa- es of Penelope and her maids are posit- various forms and manifestations in fic- mous myths, Margaret Atwood’s The ed as a feminist reading of the classical tion. Paratext has the option of interpola- Penelopiad is a rewriting of the classical myth, and also how such a feminist shift tion in the text and the possibility of tak- myth of Odysseus, but with his wife Pe- in the myth’s perspective has to be met ing part in analysis, as one of the forms nelope as the protagonist. The novella on the novella’s formal level as well. that have the function of liminal spaces gives Penelope a long-awaited narrative in the literary work. Therefore, one of the voice, one she had been deprived of in Keywords: tasks of the paper will be to distinguish classical mythology; she becomes the narrative, myth, Margaret Atwood, Penelope, spectrality whether the paratext belongs to a text or first person narrator of her life’s story. to a literary work/book. Hence, this pa- Her narrative, after centuries of being Dunja Plazonja (1984) is a PhD student at the Fac- per will try to determine at which level of situated on the brink of storytelling, final- ulty of Humanities and Social Sciences in Zagreb. literary work does the paratext appear, as ly becomes hers to tell. This paper will After doing a degree in Comparative literature and well as the forms of connection with the English she enrolled in the PhD programme and seek to analyse how giving a narrative text (such as images, footnotes, margins, voice to a mythological character, paris currently working on her thesis in narratology and feminist theory. She has published essays and QR codes, etc.). The paper will also try ticularly one whose narrative presence reviews in Croatia and abroad and has presented to clarify the cases in which the forms of had never been placed in the foreground, her work at numerous conferences across Europe. paratext, such as footnotes, are part of grounds that voice not only in its first per- the story and how they are relevant for son narration, but also on the structural the story, its development or the devel- level of the novella itself. In order for the opment of suspense. Giving the diversity narrating voice of Penelope to legitimize of paratext and its constant „communica- its storytelling, this radical shifting of the tion“ with the text and the story, the pa- previously neglected literary and mytho- per is going to systematize the role and logical character has to be matched by an function of the paratext in literary work equally radical breaking of genre codes. as essential for development of the story Penelope’s narration is interwoven with and action. the various narrative voices of her maids, slain by Odysseus, who narrate their sto- Keywords: ries in the forms of laments, ballads, a paratext, text, story, literary work, function jump-rope rhyme, a lecture, a court trial and different types of songs. The chorus Ivana Buljubašić (born 1990) has an MA in Cro- of the slain maids’ voices further subverts atian language and literature and is currently the formal level of the text by them being a PhD student at the Faculty of Humanities and Social Sciences at the University of J. J. Stross- ghostlike, spectral narrators; their com- mayer in Osijek (Postgraduate university study of ments on the narrative come from the Literature and Cultural Identity). As a student she grave, and just as they are the novella’s published several scientific papers and participat- spectral hauntings, so too is Penelope, ed in scientific conferences. She is also involved 64 Nina Dujmović Corinna Jerkin 65 PhD student, Faculty of Humanities and Social Sciences, University of Zagreb Research assistant, Faculty of Teacher Education, University of Zagreb [email protected] [email protected]

Maupassant – An Analysis The Translator’s Voice in the Paratexts of Huck Finn in Croatian* This presentation is an attempt to ana- sion of watching a silent film. In this silent lyse the Maupassant’s novel Lui from a world, the “I” does not perceive noises This paper explores paratextual elements how the translator’s voice is presented in narratological point of view, concerning or voices; the only thing he hears is the (such as forewords, afterwords, footnotes, them, that is how audible that voice is in the existence of the narrator and his in- sound of his inner voice. etc.) of the Croatian translations of The (re)translations. terlocutor, the flow of the story and time Adventures of Huckleberry Finn (1884), Special attention is dedicated to the and space indicators. The novel Lui, pub- KEYWORDS: the classic novel written by Mark Twain. difference between two models, that es- lished in 1883, is presented in the form of Maupassant, Lui, discours, narrator, grammar person There are six different translations of that tablished by O’Sullivan (2005), based an amicable letter in which the author of book into Croatian (Blažeković 1947, Zalar on Schiavi (1996), and that by Alvstad the letter is announcing to his friend that I was born in 1987 in Split. After graduating from 1962, Crnković 1986, Kezele 2002, Mar- (2014). In other words, respective non- he is getting married and explains what secondary school in 2005, I began to study ion 2004, Buđanovac 2004), published complementary concepts are discussed of pushed him towards that decision. By ap- French and Hispanic philology on the Faculty of in many reprints and editions. the implied translator and the translation plying Benveniste’s theory of grammati- Humanities and Social Sciences, Zagreb. After Theoretical background is provided pact, which these models are based upon. cal persons, one can see that the Mau- finishing my graduate studies in 2008, I was ad- mitted to master studies at the same faculty. Dur- by contemporary interdisciplinary study passant’s “I” reveals itself as non-existing ing the studies, I have worked as a professor of of narrative theory and translation stud- Keywords: as it is “You” that becomes its own echo. French and Spanish language and also translated ies, often applied to children’s literature. paratext, translator’s voice, translation Therefore, it can only establish itself in a pac t, The Adventures of Huckleberry Finn, scientific articles for the magazine Republika and Classical narratology pays little at- translations into Croatian relation to the “third person”, the person for the Third Croatian Radio Programme. After tention to translations, that is to the dis- obtaining my diploma in 2011, I have enrolled into who is left outside the conversation, the tinction between translations and source *This work has been fully supported by Croatian the postgraduate studies in literature at the Faculty “He” whose real existence in the story is Science Foundation under the project BIBRICH of Humanities and Social Sciences. I am currently texts. The premise underlying the use never proved, the Lui. employed as the professor of French at the sec- of excerpts equally from translated and (UIP-2014-09-9823). The category of space is also de- ondary school Leonardo da Vinci in Split. original literature while discussing indi- stroyed as the story progresses and the vidual works is that of universal narrative Corinna Jerkin is a research assistant in the project Building Intercultural Bridges through Child- narrator’s fear grows. From his intimate structure (Schiavi 1996). Schiavi also shelter, which is meticulously described, ren’s Literature Translations: Texts, Contexts and observed that the narrative structure of Strategies (BIBRICH), supported by the Croatian the narrator’s room becomes an unde- a translation is affected by a new entity Science Foundation and conducted at the Faculty termined space which closes and con- entering that text – the translator’s voice. of Teacher Education, University of Zagreb. She is sumes itself in the end; the “I” becomes Hermans (1996) examined the trans- a student of the doctoral programme in Croatian the space. lator’s discursive presence in the paratext, literature at the Faculty of Humanities and Social On the third side, the category of time Sciences at the same university. Her research and Fludernik (2009) emphasized the interests include Croatian children’s and young in the novel is very vague, underlining relevance of paratextual studies for the adult literature, narratology and methodology of the actual chaotic state of the narrator’s theory of the narrative. “Paratexts struc- teaching the Croatian language and literature. She mind. The category of tenses on the oth- ture the reading and are therefore relevant participates in the editorial board of Libri & Liberi er side reveals a long period of serenity for reader-oriented narratological anal- as a Junior Editor. (l’imparfait), opposed to the sudden in- ysis” (Alvstad 2014: 272). As children’s trusion of “Lui” (le passé simple); regard- literature is generally defined by its read- less of the time period, the present tense ership, any analysis of this corpus from is often injected into the story creating an a narratological perspective should take illusion of endless suffering. The autumn into consideration the reader, whether it is described in the story gives the impres- reader-oriented or text-oriented. sion of a gray picture where only the out- In this paper it is examined how pa- lines of things are visible and the objects ratexts influence the reading of Croatian lose its form. The reader has the impres- translations of Huckleberry Finn and 66 Nada Kujundžić Lucia Leman 67 PhD student, University of Turku, University of Zagreb Researcher, University of Nottingham, UK [email protected] [email protected]

Narrative Space in the Grimms’ Fairy Tales: The Narratology of Illyrian Discontent – The Tale The Case of “The Frog King” of the Occidental Other from Byron to Bregović

The research on fairy tales has so far narrative space in fairy tales sets this par- This arts & science presentation charts Empire, and the folk songs of the Illyri- shown limited interest in narrative space. ticular genre apart from other short prose various transpositions of the Illyrian sub- cum. Like Byron, Bregović’s music seems Seeing that fairy tales provide very little narrative genres featured in the Grimms’ ject, established as the Occidental Other to be “pandering to the West” by giving information on individual spaces (typical- collection (animal tales, legends, reli- by a series of ancient writers, less Ori- them another form of Oriental tale, actu- ly established in the broadest of terms, gious tales, humorous tales, etc.). ental than the “barbarians” of the Persian ally orientalizing the Occidental other, yet e.g. a forest, a far-away land), most Empire yet still less Western than his creating unique art that can withstand its scholars dismiss the fairy-tale space as Keywords: Greek and Roman neighbours. Following commercial motivation. irrelevant, a mere background for the ac- fairy tale, Jacob and Wilhelm Grimm, Kinder- und the historians and cartographers from an- Hausmärchen, narrative space, “The Frog King” tion, which is only mentioned because the tiquity to Enlightenment and inspired by Keywords: Byron, Bregović, orientalism, Illyricum story has to take place somewhere. The Nada Kujundžić is a PhD candidate at the Univer- personal experience of traveling across present research challenges this notion sity of Turku (program in folklore studies) and the Eastern Illyricum - all but Orientalized Lucia Leman is a bilingual poet, novelist and and argues for the relevance of narrative University of Zagreb (program in comparative lit- yet keeping the memory of rebellious non-fiction author published under two names (i.e. erature). Her dissertation examines the structure space on the level of both structure and almost-Western knights in its ubiquitous Lucia Leman and Lucija Stamać) and in three lan- and role of narrative space in Jacob and Wilhelm content. Moreover, the research claims oral poetry and lore - Byron famously guages (Croatian, German and English), having Grimm’s Kinder- und Hausmärchen. She is the jun- started at eighteen with an awarded book of poetry that the organisation of narrative space ior and review editor of Libri & Liberi – Journal dramatized the character of the Illyrian and further branching into historical and women’s featured in fairy tales sets them apart of Research on Children’s Literature and Culture, “corsair”, ennobled by his sense of enti- writing, typically portraying a highly sensitive and from other short prose narrative genres. and a member of the BIBRICH (Building Intercul- tlement with regard to plunder, at least intelligent female winning – or not? – against her tural Bridges Through Children’s Literature Trans- Theoretically and methodologically when it came to the Turkish oppressor. postcolonial background. Her creative writing skills lations: Texts, Contexts and Strategies) project. rooted in narratology and relying on the Thus echoing the situation of Illyrian brig- were recently expanded by a couple of non-fiction Her research interests include fairy tales and their existing models of studying narrative ands, famous since antiquity and known endeavours, a postmodernist reading of Shelley’s contemporary (cinematic) adaptations, children’s A Defence of Poetry and a classicist reading of space (e.g. Zoran, 1984; Ronen, 1986; literature, film, women’s writing and short (oral) in Britain since the rule of Elizabeth I and Byron’s Manfred and its Greek sources. Her edu- Ryan, 2012), the presentation will ex- prose narratives. tolerated by a series of Austro-Hungarian plore the function and structure of narra- rulers, even in Byron’s days. Soon after cation took place in Croatia and in the UK, starting with a BA in drama and performance on Academy tive space in fairy tales. The analysis will the Illyrian brigand had become glamour- of Dramatic Art, University of Zagreb, followed specifically focus on “The Frog King, or ized as the Byronic Hero, he was restored by an MA in Comparative Literature on the Fac- Iron Heinrich” (Der Froschkönig oder der on his native shore by means of a dramat- ulty of Humanities and Social Sciences, University eiserne Heinrich), the first tale published ic transposition from Ivan Kukuljević Sak- of Zagreb and by a PhD in Cultures, Languages in Jacob and Wilhelm Grimms’ collec- cinski, one of the most prominent figures and Area Studies on the University of Nottingham, tion of stories, Kinder- und Hausmärchen of the Illyrian Movement (sic!) (c. 1835 where she also worked as a teaching fellow. She writes and teaches in English and in Croatian. (Children’s and household tales, 1812/15– – c. 1849), aiming to create a Croatian 1857). A space-oriented reading of the national establishment in the Austro-Hun- fairy tale will examine the role of space garian Monarchy through linguistic and in establishing characters, their relation- ethnic unity and to lay the foundation for ships and role in the story, as well as the the unity of all South Slavs, thus anticipat- organisation of the plot and the structure ing Yugoslavia. Almost two centuries lat- of the narrative, with special emphasis on er, the Yugoslav musician Goran Bregović the structure and interaction of the mag- takes the concept of the Illyrian to the next ical and non-magical domain. Based on level in an intermodal transposition of By- the findings of the close reading of the se- ronic metaphors, recasting the “Byronic” lected tale, the presentation will propose hero in his original settings, respectively that the function and organisation of the evoked by the sounds of Byzant, Ottoman 68 Eva Simčić Nataša Govedić 69 PhD student, Faculty of Humanities and Social Sciences, University of Zagreb Assistant professor, Dramaturgy Department, Academy of Dramatic Art, University of Zagreb [email protected] [email protected]

These Violent Delights Female Coriolanus, Her Desire Have Violent Ends: and Indestructible Dialogue in Intermental Mind in Westworld Von Trier’s Nymphomaniac

While analyzing Middlemarch, Alan the negotiation between individual and The text deals with the narrative, philo- ies and at the FFaculty of Teacher Education in Palmer (2005) uses the term “Middle- collective epistemic parameters and the sophical, theatrical, cinematic and ther- Zagreb etc. So far she has published twelve books march mind” to explain a constellation interplay entailed in the formation of the apeutic framing of dialogical processes on theater and performance (most recent is Pas- sions, Conditionals, 2015). She is also active as that consists of the relations shaped by community. The hypotheses are: a) that and the consequences of their encour- theatre dramaturg and/or performer. the social context of the city of the novel. the change of consciousness happened agement, obstruction or lack. Lars von For Palmer, this constellation is not a fig- on the level of the community and not on Trier’s movie Nymphomaniac (2013) is urative device used to depict the social the level of singular robots and b) that it taken as a prime example of a complex frame operationally. Rather, when per- was not a result of external events, but, and traumatic desire-writing that close- ceived as a non-metaphorical entity that instead, a product of repetition of liter- ly resembles Shakespeare’s Coriolanus, can have different attributions, or bring ary texts that presupposed a continuity of both in terms of the character’s “heroic” about different decisions about the envi- conditions of experience. profile and in terms of social instrumen- ronment and influence the narrative dy- talization of the gendered body. It is the namic, this type of a collective text being Keywords: dialogic process that opens possibili- can explain the complicities of behaviors intermental thought, intermental mind, ty of intimacy, community building and Westworld, repetition, cognitive switch in Middlemarch. Unlike the unified col- self-knowledge in both Shakespeare and lective voice that characterized certain Eva Simčić is a student of the doctoral programme Von Trier, but in both cases the protag- forms of literature, the concept of inter- Literature, Performing Arts, Film and Culture at onists choose peculiar self-closure and mental thought, as well as the concept the Faculty of Humanities and Social Sciences in self-starvation. The author discusses not of intermental mind closely connected Zagreb. Her research interests include rhetorical only politics of affects, but also narrative narratology, speculative materialism and literature to it, can be ascribed into (almost) any of exile. She is currently taking part in the Croatian strategies of dialogic discourse, as well type of narrative and foster a narratolog- Science Foundation’s project The Politics of Time as the performance of scopic desire, au- ical model that provides an in-depth ap- in the post-Yugoslav Prose: Imagining Temporali- ditive desire, sexual desire, dialogic de- proach to intersubjectivity as an addition- ties of Literary Cultures of Transnationality under sire and the politics of self-punishment. al dimension of text. This presentation the supervision of Aleksandar Mijatović, PhD. examines the specifics of creation of the KEYWORDS: intermental mind in Westworld (2016), dialogue, open and closed narrativization, scopic desire, auditory desire, sexual desire, Jonathan Nolan’s television series cen- community, victimhood, intimacy, tered on humanoid robots developing emotional anorexia consciousness in a tourist park developed for human entertainment. What is Nataša Govedić is theatre and media scholar who regularly contributes to the fields of theatre and proposed is that the circulation of literary performance studies, Shakespeare studies, fem- texts in Westworld opens a gateway to inism, philosophy of subjecthood, performance a meta-community and thus enables the ethics, radical pedagogies and communal theatre. robots to develop a mind of their own and She is employed as a full-time lecturer at the Acad- become AI. Since narrativity in the series emy for Dramatic Art (Zagreb). She continually operates both on the level of events in works as editor-in-chief of feminist journal Treća (since 2000.), theatre editor in politically pro- the narrative universe and on the level gressive magazine Zarez (since 1999.), theatre of texts that shaped the characters of critic in daily newspaper Novi list (since 2001), robots in the Westworld, we will explore and guest-lecturer at Women Studies, Peace stud- 70 Senka Božić-Vrbančić 71 Associate professor, Department of Ethnology and Anthropology, University of Zadar, Croatia [email protected]

Narrative and Compassion: Heteronormativity, Citizenship and the Role of Feelings

The documentary film SICK (director a dwelling place. Hence movement does Keywords: Hrvoje Mabić, 95 min, Croatia) was re- not cut the body off from the ‘where’ of its narrative and emotional identifications, intimate public spheres, nations as objects leased in 2015. It was inspired by the inhabitance, but connects bodies to oth- of feelings, narratives of pain, compassion, tragic story of a young lesbian woman, er bodies’ (Ahmed, 2004: 11), in other heteronormativity and citizenship Ana, who was confined in a psychiatric words, it creates communities of feelings, hospital in Croatia and ‘treated’ for her it produces nations as objects of feelings. Senka Božić-Vrbančić works in the Department of Ethnology and Anthropology at the University of homosexuality. SICK strives to narrate Following Ahmed in this paper I ana- Zadar, Croatia and holds a PhD in Anthropology Ana’s life in the aftermath of her release, lyse Ana’s narrative, as it has been rep- from the University of Auckland, New Zealand. her suffering and her struggle to re-es- resented in SICK, as a part of the big She has worked in the School of Philosophy, An- tablish a semblance of a ‘normal life’. network of projects that put on display thropology and Social Inquiry at the University of In Croatia, during the last two dec- personal stories of suffering which mobi- Melbourne, Australia; the Center for Sociology ades, different narratives about suffering lize viewers’ emotional identifications with and Cultural Studies in Lviv, Ukraine and the In- stitute for Anthropological Research, Zagreb. Her flourish in media, for example, the suffer- the embodied agents of pain and suffering, work spans the fields of anthropology, cultural ing of war veterans, poor families, chil- and I analyse how these identifications are studies, visual culture and memory studies with an dren with single mothers, and so on. Rep- linked to the processes of nation building. emphasis on identity issues, cultural memory and resentations of these individual narratives Hence, I don’t discuss representation of the cultural politics of emotion. She participated in are often screened in various forms (TV Ana’s personal narrative as isolated from many projects and published widely on the politics reports, documentaries, etc.). These nar- the culture and context within which the of culture, migration and identity issues. ratives of suffering which circulate around film emerged; rather, I explore how rep- in public sphere, as Ahmed argues, even resentation of Ana’s narrative of suffer- though described as a private experience, ing traverses different forms of national are ‘evoked in public discourse as that imagery in contemporary Croatia. I trace which demands a collective as well as how the representation of an individual individual response’ (2004: 20). They narrative of suffering articulates with dif- are designed to make viewers to be more ferent forms of a core set of national val- empathic and compassionate to suffering ues, and, finally, how it is invested in and of others, but this empathy and compas- by normative ideals. Furthermore, I ques- sion are not neutral as it seems at the tion ‘naturalized’ assumptions of compas- first glance - ‘they are crucial to the very sion, which often frame representations of constitution of the psychic and the social narratives of pain, love and anger in the as objects’ to ‘I’ and ‘we’. In other words, service of systematic inequalities. Or, to they ‘allow the individual and the social paraphrase Berlant (2004), I examine to be delineated as if they are objects’ how compassion, as an imagined aes- (2004: 10). Emotions move us towards thetics and politics of viewer response, particular objects, but, as Ahmed states, becomes more valued than suffering. I ask the relationship between movement and what kind of politics are inscribed, and attachment is a paradoxical one: ‘What what fantasies and contradictions are per- moves us, what makes us feel is also formed through the process of represent- that which holds us in place, or gives us ing Ana’s narrative? 72 Christian Stenico Ivana Zovko 73 PhD student, University of Innsbruck, Austria Teaching and research assistant, PhD candidate, Department of Iberoromance Studies, [email protected] University of Zadar, Croatia [email protected] Narrative Authority and Audience Expectation Yo soy una puta verbal: in Podcast Storytelling Attitudinal Positioning in Malena Pichot’s Video Blog Performance Although narratives today occur in all audience to believe that the true crime forms of media, from written forms and case would be neatly resolved in the end, audiovisual instances to interactive nar- just as a well-formed narrative. My pres- Yo soy una puta verbal (…) no tiene constructed, and the meanings that the ratives in computer games, one very old entation explores how the focus on audio ningún sentido depilarme (I’m a verbal text is evoking and connoting. Hence, form of narration has recently experi- only and the exclusion of other senses whore, there’s no point in depilating) following the multimodal Social Semiotic enced a revival: oral narration. foregrounds the role and authority of nar- represents a verbal fragment of a com- theory and Multimodal Discourse Anal- While in former times people would rators in podcasts and how this, in turn, plex performative interaction in the video ysis (see Kress & van Leeuwen 2001; gather around practiced performers to influences audience expectations. For my blogs in the form of a personal diary of Adami 2009, Page 2010), the multi- listen to their stories directly, one of the analysis, I will rely on classical narrative the Argentinian vlogger Lalocademierda modal strategies are briefly discussed: most popular forms of oral narration to- theory, as well as film and television nar- (Malena Pichot). verbal resources – oral representations day are podcasts. Unlike older kinds of ratology, combined with theories on radio This study uses the appraisal frame- and written fragments in the form of me- forms, that offered audiences an almost plays and oral storytelling. work developed by Martin & White ta-texts – accompanied by the audiovis- theatre-like performance, including fa- (2005) to analyze the attitudinal po- ual resources. cial expressions and gestures, podcasts Keywords: sitioning and the evaluative structures Second, using the appraisal frame- rely solely on an audio track to tell their oral narration, storytelling, podcast, Serial, narratology which the vlogger presents while narrat- work to analyze the author’s attitudinal stories, thereby appealing only to their ing about her everyday life and experi- positioning and emotive meanings – with audiences’ ears and imagination. At the Christian Stenico is a PhD student at the Universi- ences (with men), drawing at the same its subcategories of affect, judgement, same time, the reduction to only the oral ty of Innsbruck (Austria) and his research focuses time attention to sociocultural and power and appreciation –, the findings in the level allows for even greater immersion, on first-person narration in different media. He has relations. The Appraisal Theory comes study primarily suggest that (i) the author especially if listeners close their eyes and published a peer-review article on the implicit by- use headphones, thereby blocking out the stander effect and video games in the Journal of from the Systemic-Functional traditions combines verbal and audiovisual modes Social Psychology with Prof. Tobias Greitemeyer in linguistics, and it is primarily con- to express emotive meanings; (ii) the at- outside world completely. (Stenico, Christian, and Tobias Greitemeyer. “The With no visuals to either support or cerned with creating meanings by emo- titudinal positioning is mainly related to Others Will Help: The Presence of Multiple Vid- tive positioning, and the construction of the topic of “being a woman”, i.e. the ste- contradict their stories, podcast narrators eo Game Characters Reduces Helping After the have much greater control and authority Game Is Over.” The Journal of Social Psychology dialogic patterns (see Martin & White reotypes about female representations over their tales than in other media. This 154.2 (2014): 101-104.). His other research inter- 2005; Feng & O’Halloran 2013; Feng & and roles; (iii) the elements of humor increased authority can prove problemat- ests include recent developments in film and tele- Qi 2014) between the interactive partici- and irony are expressed in the textual vision, such as technical advancements, changes ic, however, as it creates audience expec- pants – the vlogger and the audience. (verbal and audiovisual) constructions in plot preferences, and innovations in filmic and Nevertheless, although the analysis is of emotive positioning; (iv) it appears to tations about reliability and definitiveness oral storytelling. which often cannot be fulfilled by the primarily focused on the attitudinal posi- be a laborious task to delineate the lim- narrator. The pitfalls of this fallacy are, tioning, in order to understand the emo- its between the subcategories of affect, perhaps, illustrated most prominently in tive meanings constructed by the vlogger judgement, and appreciation since, to put the outcry over the ambiguous ending of and the evaluative textual patterns, the it briefly, the attitudinal positioning is not Serial’s first season – the most popular verbal and audiovisual representation of manifested exclusively by isolated (sets podcast to date. modes, by all means, needs to be briefly of) clauses and individual modes – ma- My presentation will give a detailed presented. Correspondingly, the data is jor parts of the textual sequences and analysis of Serial’s first season, in order presented and discussed in two ways. narrative elements can imply dominant to illustrate how the combination of Sa- First, since the study approaches the attitudes and emotions as well. Hence, it rah Koenig’s masterful use of narrative digital narrative as a complex multimodal is suggested that the multimodal analysis conventions and techniques, as well as (inter)action, the analysis is centered on of discourse prosody could combine the the podcast’s overall structure, led the salient modes by which this interaction is appraisal framework and the analysis of a narrative structure while describing the Dijana Protić 75 digital audiovisual interaction, the rela- PhD student, The Faculty of Humanities and Social Sciences, University of Rijeka, Croatia [email protected] tionship across and between modes, and the emotive positioning of the vlogger. Exploring of the Narratives Keywords: video blog; multimodal interaction; appraisal; in the Multimedia Performance emotive meaning and Exhibition Cathedral (1988) Ivana Zovko is a teaching and research assistant in Spanish grammar and linguistics at the Depart- ment of Iberoromance Studies at the University Today’s usage of multimedia and interac- timedia artwork. I also examined which of Zadar. She is a PhD candidate at the Doctoral tivity is a common practice in contempo- narratives it consists of and how those Study in Humanities at the University of Zadar. During the year 2016, as a visiting predoctoral rary art. In this presentation, I turned back narratives are represented through exam- researcher, she spent seven months working on to the beginnings of multimedia and digi- ples in images, sounds, computers, live her research at the Department of Translation tal art in Croatia. I analyzed and explored performance, as well as by the audience and Language Sciences at the Pompeu Fabra all types of narratives in the Cathedral moving through the space of exhibition. University in Barcelona. Her research interest (1988), which was an interactive and Further on, I examined the narratives of focuses on digital discourses and interactions from the multimodal perspective, in the field of multimedia performance and exhibition the Cathedral in the context of the theory Digital Semiotics, Multimodal Discourse Analy- created by Darko Fritz, Stanko Juzbašić, of new media. At last, I analysed it in the sis, contemporary Text Linguistics, and Narratol- Ivan Marušić Klif , Boris Bakal and Goran context of the history and development of ogy. Her PhD research (in progress) deals with Premec. As the authors have pointed out, the digital media art in Croatia. the multimodal discourse strategies employed in the Cathedral was carried out through Fifteen years after the significant the video blogs in the form of a personal diary in the medium of computer and was real- Spanish. She received her bachelor’s and Mas- movement of the New Tendencies (1961- ter’s degree in Spanish Language and Literature ized in the course of six performances 1973) and approximately at the same and Czech Language and Literature from the during February 1988, in the Gallery of time when the multimedia artists in the University of Zagreb. Expanded Media in Zagreb, as well as rest of the world start to create multime- through a direct broadcast on Radio 101, dia and digital art, a group of authors cre- Zagreb. The Cathedral is chosen as an ate the Cathedral in Zagreb. From today’s example because I wanted to explore the perspective, it is very interesting and val- narratives in digital media. Storytelling in uable to see, in the context of art history, the Cathedral is transmedial, the authors how this group of authors created and ex- have combined image, sound and live plored the digital media art at that time. performance in it. The authors created There are many reasons to look back at a type of cyberspace and its narratives the Cathedral from today’s perspective. create textuality.

The Cathedral is analysed using the Keywords: basic concepts of the theory written by art, Cathedral, digital media, narratives, Lev Manovich in the book The Language multimedia of New Media (2001). According to Born in 1985 in Zagreb, Dijana has a Master of Manovich, the forms of the new media Fine Arts (MFA) degree in dramaturgy from The are comprised of a database and a nar- Academy of Dramatic Art in Zagreb. In March rative. In this presentation I reconstruct 2014, she enrolled into the Postgraduate doc- and describe the many narratives that toral study of Publishing and Media at The Fac- exist in this multimedia work, and also ulty of Humanities and Social Sciences in Rijeka. the relationship between the narratives In March 2015, she received a grant from The University of Rijeka for her research project ‘Re- and databases. search on the use of digital technology in teaching The Cathedral is analysed from sever- among student population’. Her research and ar- al perspectives. First, I examined all the tistic interests include film, visual arts and moving narratives that exist in this complex mul- images, visual culture, reception of visual information, digital technology and art. Her first film Marijana Jančeska 77 as a director was a short documentary Kampanja, PhD student, Institute of Macedonian Literature, Skopje oliva corcyrae nigra (Sintoment, 2009). In March [email protected] 2013, she spent three weeks as an artist in resi- dence at MC Kibla, Maribor, Slovenia. Currently, she is working as a director and scriptwriter on a The Political Narration creative documentary film ‘Painters’ (in development, Sintoment and Kibla). The film explores the in the Macedonian position of visual artists today, and was selected to participate in the European script meeting in Governmental Commercials: Riga 2016. She is also doing a research for her How Did the Television Cheat the Reality? PhD, which will examine the mapping, history and practice of new media arts in the Balkans. She has led several film workshops in collaboration with One of the greatest linguists of the 20th Keywords: the Sintoment and Croatian Youth Network, and century, Émile Benveniste, in his Prob- political narratives, social psychology, authored several documentaries and short films. collective identity, commercials, television lems of General Linguistics, wrote that a man is born twice: the first time by his Marijana Jančeska graduated in Macedonian lit- parents, and the second time by lan- erature and South Slavic literature in 2011 at the guage. The main question of the narra- Ss. Cyril and Methodius University in Skopje, tion, or how the text is made, in our case Macedonia. In 2015, she received a Master’s de- is: how does one make commercials that gree in Interdisciplinary Cultural Studies from the Institute of Macedonian literature in Skopje, Mac- ideologically affect the whole community, edonia. Currently, Marijana Jančeska is enrolled and which are, as such, drastically chang- into PhD studies in the field of Cultural Studies ing the ideological ground of a nation? at the Institute of Macedonian literature in Skopje, Jacobson said that the science knows Macedonia. She worked as a long-time editor of no compromise, but the politics cannot the Opportunities and Career sector that operat- exist without compromise. The second ed as part of the only independent student magazine in Macedonia, Way out. She also edited the question is, how has the Macedonian weekly online cultural magazine Reper, which is a ruling party compromised with history, project of the „Antolog Publishing Centre“. Mari- in order to spread commercials as se- jana Jančeska works as a Macedonian language mantic fields of a whole new collective and literature professor. Through a long-lasting identity? Our thesis is that in the last ten collaboration with the non-governmental sector in years (2006-2016), the governmental Macedonia, she is actively included into projects about education quality, gender equality and so- commercials in Macedonia are following cial inclusion of the marginalized groups. Her lit- a very stable narration that deeply affects erature reviews and essays are published in many the collective memory of the nation. In national and international magazines for literature other words, the governmental commer- and culture. cials serve as some kind of a model that the ordinary citizen should follow. The commercials are seen as a type of functional narrative tools. We take a deeper look into the governmental campaigns on several different topics, such as: healthy life style, traditional family, diminishing the right to abortion, being a good citizen and pat- riotism. With the interpretation of those constituents of meaning, our goal is to confirm the thesis that a political narrative can be used as a factory supplement for a narratological historic deficit. 78 Željko Luketić 79 PhD student, Faculty of Humanities and Social Sciences, University of Zagreb [email protected]

Your Face Sounds Bigoted: Cross-Dressing and Low Camp Narrative of Croatian Television Shows

Since December 2014, the Croatian will analyze the television tropes of “fam- Radio 101 Zagreb from 1995-2010, documenta- commercial TV channel NOVA TV has ily appropriate” gender bending, aimed ry screenwriter for Croatian National Television aired local version of the Dutch music- at making it fun and safe, always with (HRT), artistic director of Croatian Cinema Days festival from 2014-2016, curator of several exhibi- and-dance show “Your Face Sounds the purpose (to imitate or to be believ- tions – Borghesia: We Don’t Believe You (Zagreb, Familiar” translated as “Tvoje lice zvuči able) and excluding sexual connotations Greta Gallery), Socialist Disco Culture 1977-1983 poznato”. The main premise of the show as non-existent. Besides its “safe” PG- (Klovićevi dvori/Kula Lotrščak, Zagreb); Visual is a performance contest, where famous 13 approach this practice also manages Language Of Socialist Disco (HDD Galerija, Cro- actors, singers or just celebrities are be- to promote subverted homophobia and atian Designers Association, Zagreb). Editor and curator of the Ex Yu Electronica III (Subkulturni ing asked to transform into another singer transphobia, with contestants always try- Azil, Maribor) and Electronic Jugoton - Synthetic and perform their song with all the stage ing to declare their “right sex”, even when Music From Yugoslavia 1964-1989 CD anthology paraphernalia, mannerisms and dance they are still being in their “different role”. (Croatia Records, 2014.). Member of Croatian routines to match “the original”. The jury Attitude magazine columnist Mark Simp- Association of Film Critics (HDFK) and FIPRESCI. then picks the one who was the best, not son and Judith Butler claimed long ago Postgraduate at Faculty of Humanities and Social only in singing, but in complete “trans- that gender is a continuing performance, Sciences (University Of Zagreb) at Doctoral studies in literature, performing arts, film and culture. formation” and “believability”. Ratings but Croatian cross-dressing TV stars still of the show went sky-high, making it the can not wait to jump out of their “forced single most popular “family entertain- costume”. Did we regress into the world ment” for the Saturday night viewership of cheap 1980’s film comedies, where in already three TV seasons in a row. The the first instance of man wearing a dress, most popular “transformations” are by audience went into laughter? And why many, those with a gender switch, from still, the majority of the “most success- male stars dressing into female singers ful” performances in that shows are still and vice versa, women freely perform- men in high-heels, but more rarely wom- ing masculinity, simply because “the role en wearing moustaches? Can a woman requires it”. This freedom of gender per- make fun out of masculinity and play it formance (as opposed to gender being safe as men continue to dominate the assigned by birth in older theories still world of family entertainment? Why is perpetuated by right wing advocates) it so acceptable in transitional societies might be a welcoming twist in media pro- as Croatian? And can it be considered a gramming. Or is it? Also, it probably eas- narrative in a need of change? es the public discourse toward sex and alternative lifestyles, gender-bending and Keywords: non-conformity. Or it actually increases media, television, gender, performance, Croatia the male-female stereotypes, feeds on it and puts it in the window of unrefined Film and music critic, writer and journalist from Zagreb, Croatia. Since 1993 collaborates with media grotesque, as would G.R. Tamarin magazines like Kinoteka, Heroina, Hrvatski filmski define it in his 1962 definition of “tragic” ljetopis, Oris, Filmonaut and Prosvjeta. Resident plus “comic” minus “pathos”. This paper reviewer and co-editor of culture news board at 80 Iva-Matija Bitanga Iris Šmidt Pelajić 81 Assistant professor, University North, Croatia Senior lecturer, Faculty of Teacher Education, University of Zagreb [email protected] [email protected]

Ganga Museum The Grimms’ Fairytales’ New Clothes The traditional song ganga of Imotski re- giving it a different value and a different gion in Dalmatinska zagora is the foun- melody that historically does not belong It is well known that fairy tales are among Croatia, since 2003. She graduated from German dation of the research project called the to the language. By singing Boileau in my the most widely read literary works, known and Spanish Language and Literature at the Fac- Ganga Museum. It is a common name for translation I would familiarize the text, for adults and young readers around the ulty of Humanities and Social Sciences, University of Zagreb. She is currently a PhD student of Liter- several art and scientific researches in- but remove the Boileau’s authenticity as world. But they have also served as inspired by ganga and the world of people a noble Frenchman. ature, performing arts, film and culture at the same spiration for scientific researches, i.e. to faculty. Her research interests include primari- who create and live with it. As a vocal, the Russian theoretician Vladimir Propp ly the history and theory of children’s and young ethnographic and social phenomenon, Keywords: (1895-1970). In his book Morphology adults literature of the German-speaking countries, ganga can also be studied through the ganga, Boileau, defamiliarization, comparative children’s literature, as well as the intermediality, narration of the Folktale (1928) he analyzed many research of voice media, narration, story, of the Russian fairy tales and identified use of children’s literature in education, in teaching German as foreign language in primary school, performances, customs, people, migra- Iva-Matija Bitanga (Zagreb, 1974). In 1994 she common themes within them. He found encouraging creativity and developing intercultural tion, architecture, borders etc. graduated in painting and art education from the 31 narratemes (narrative units) that com- competences. She has given lectures at numerous Academy of Fine Arts, University of Zagreb. From The Ganga Museum has its physi- prised the structure of the most stories, scientific conferences at home and abroad. 2000 to 2004 she attended the postgraduate cal form in a renovated traditional lower ‘functions’ immanent to the fairytales. He stone building in a hamlet of Runovići. study of Exhibition Design and Scenography in Karlsruhe at Hochschule für Gestaltung, University developed a scheme that can be applied The building will, through this project, ob- of Arts and Design. Iva-Matija Bitanga has received to all fairy tales, and thus opened the way tain a new function as an exhibition cen- numerous awards and recognitions in the field of for the later development of narratology. tre for research and art work of people I art, scenography and costume design. Since 1995 This work poses the questions regarding she has had solo and group exhibits in Croatia collaborate with. The works are created the characteristics and structural ele- and abroad. She has professionally engaged in within the framework of the project Gan- ments of the original Grimms’ fairytale, ga Museum. designing scenography, puppets and costumes for the theatre since 1996 and since 2000 she has and the ways they are preserved, lost The first work, created within the pro- cooperated with HRT (Croatian Radio Television). and/or changed in their reinscriptions. ject Ganga Museum, is the Ganga - Boi- Iva-Matija Bitanga has been an Associate Pro- Based on a comparative analysis of the leau I brought before the audience as a fessor for the Puppetry and Stage Culture at the selected fairy tales, this work endeav- performance at the opening of the 51st Za- Faculty of Teacher Education in Čakovec branch since 2011. She has been employed full-time at ors to investigate how the Croatian and greb Salon 2016 in Zagreb for The Cro- German newly created fairytales are re- atian Association of Artists. The process the University North since 2013 as an Associate Professor. In 2015 Iva-Matija Bitanga enrolled inscripted in the Grimms’original - the and the formation of the work’s strategy in the Program of Doctoral Studies in Literature, original Grimm’s fairy tale in the German can be followed through five stages. Performing Arts, Film and Culture at the Faculty language will be compared with their Connecting the archaic manner in of Humanities and Social Sciences, University of new versions in Croatian and German Zagreb. Recently she has collaborated on projects which ganga is sung – ‘ganganje’, with language. In this comparative analysis we highly aestheticized, ecstatic and exalt- with Leo Vukelić in the theatre show Gospođica Neću for the theatre Scena Gorica in Velika Gorica will apply the methodological tools and ed, versified work of literary theory L’Art and the costume, video and scenography for Anica models of the narrative structure of the Poetique from 1674 by Nicolas Boile- Tomić theatre project in Pinkleci, Čakovec. text, suggested, for example, by Gerard au-Despréaux, leads to a new value of Genette and Shlomith Rimmon-Kenan. the text, sound and context. Through the performance I put the Boileau’s text into Keywords: a form of a decasyllabic poem which is fairy tales, Brothers Grimm, rewriting, then melodiously sung as the archaic narratological analysis tools, models of the structure of the narrative text ganga. ‘Ganganje’ significantly changes Boileau. It changes the characteristic me- Iris Šmidt Pelajić is a senior lecturer at the Faculty lodious ornatures of the French language, of Teacher Education of the University of Zagreb,