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Od Mita Do Ironije: Lik Vojnika U Američkoj Književnosti 20

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Od Mita Do Ironije: Lik Vojnika U Američkoj Književnosti 20 Od mita do ironije: lik vojnika u američkoj književnosti 20. i 21. stoljeća Poljak Rehlicki, Jasna Doctoral thesis / Disertacija 2013 Degree Grantor / Ustanova koja je dodijelila akademski / stručni stupanj: Josip Juraj Strossmayer University of Osijek, Faculty of Humanities and Social Sciences / Sveučilište Josipa Jurja Strossmayera u Osijeku, Filozofski fakultet Permanent link / Trajna poveznica: https://urn.nsk.hr/urn:nbn:hr:142:952063 Rights / Prava: In copyright Download date / Datum preuzimanja: 2021-10-04 Repository / Repozitorij: FFOS-repository - Repository of the Faculty of Humanities and Social Sciences Osijek Sveučilište Josipa Jurja Strossmayera u Osijeku Filozofski fakultet Poslijediplomski doktorski studij Književnost i kulturni identitet Jasna Poljak Rehlicki Od mita do ironije: lik vojnika u američkoj književnosti 20. i 21. stoljeća Doktorska disertacija Mentor: Prof. dr.sc. Sanja Nikčević Osijek, 2013. Sadržaj: 1. UVOD 1.1. Područje i predmet proučavanja 1.2. Teorijska podloga 1.2.1. Northrop Frye: teorija modusa 1.2.2. Temeljni mitovi američkog društva 1.2.3. Mit o ratu 1.2.4. Mit o junaku 1.2.5. Kako afirmirati mit o ratu? 2. LIK VOJNIKA U AMERIČKOJ KNJIŽEVNOSTI PRVOG SVJETSKOG RATA 2.1. Prvi svjetski rat (1914.-1918.) ili rat koji će okončati sve ratove 2.1.1. Uzrok, tijek i posljedice rata 2.1.2. Slika Prvog svjetskog rata u američkom društvu 2.2. Američka književnost Prvog svjetskog rata 2.2.1. Prvi val američke književnosti o Prvom svjetskom ratu 2.2.2. Drugi val američke književnosti o Prvom svjetskom ratu 2.3. Od mita do ironije 2.3.1. Početak: mitska slika rata 2.3.2. Junak poput nas 2.3.3. Niskomimetska tragedija: patos i alazoni 2.3.4. Stvarna slika neprijatelja 2.3.5. Stvarna slika religije 2.3.6. Dulce et decorum est… 2 2.3.7. Isključenje junaka u ratu 2.3.8. Isključenje junaka nakon rata 3. LIK VOJNIKA U AMERIČKOJ KNJIŽEVNOSTI DRUGOG SVJETSKOG RATA 3.1. Drugi svjetski rat (1939.-1945.) ili totalni rat protiv fašizma 3.1.1. Uzrok, tijek i posljedice rata 3.1.2. Slika Drugog svjetskog rata u američkom društvu 3.2. Američka književnost Drugog svjetskog rata 3.3. Ustoličenje mita o ratu 3.3.1. Implicitna mitska slika rata 3.3.2. Zapovjednik kao alazon 3.3.3. Vojnik kao pharmakos 3.3.4. Stvarna slika neprijatelja 3.3.5. Naziranje mita 4. LIK VOJNIKA U AMERIČKOJ KNJIŽEVNOSTI VIJETNAMSKOG RATA 4.1. Vijetnamski rat (1960.-1975.) ili rat protiv komunizma 4.1.1. Uzrok, tijek i posljedice rata 4.1.2. Slika Vijetnamskog rata u američkom društvu 4.2. Američka književnost Vijetnamskog rata 4.3. Smrt i uskrsnuće američkog mita 4.3.1. Početak: Amerika kao Obećana zemlja i stvaranje junaka romanse 4.3.2. Niskomimetska tragedija: patos i alazoni 4.3.3. Smrt američkog mita i isključenje junaka 3 4.3.4. Remitizacija: iskupljenje američkog mita 5. LIK VOJNIKA U AMERIČKOJ KNJIŽEVNOSTI ZALJEVSKIH RATOVA 5.1. Prvi zaljevski rat (1991.) ili stvaranje Novog svjetskog poretka 5.1.1. Uzrok, tijek i posljedice rata 5.1.2. Slika Prvog zaljevskog rata u američkom društvu 5.2. Rat u Iraku (2003.-2011.) ili Globalni rat protiv terorizma 5.2.1. Uzrok, tijek i posljedice rata 5.2.2. Slika Prvog zaljevskog rata u američkom društvu 5.3. Američka književnost Zaljevskih ratova 5.3.1. Vojni blogovi 5.3.2. Ženski glasovi 5.4. Potvrda američkog mita 5.4.1. Početak: ratnici na prijelazu tisućljeća 5.4.2. Simulakrum rata na prijelazu tisućljeća 5.4.3. Stvarna slika neprijatelja 5.4.4. Niskomimetska tragedija: patos i alazoni 5.4.5. Isključenje junaka 5.4.6. Slučaj Vijetnam kroz perspektivu rata u Iraku 6. ZAKLJUČAK 7. LITERATURA 8. SAŽETAK 9. ABSTRACT 10. ŽIVOTOPIS 4 Vjerujte, rat je najveća čovjekova niskost koju je u svojoj raskalašenosti smislio, valjda zato da bi poslije svega i u sažaljenju mogao iznova prljati.1 Tako pretpostavljam da je svaka generacija osuđena da vodi svoj rat, da pretrpi ista stara iskustva, propati gubitak istih starih iluzija, i nauči iste stare lekcije.2 1. UVOD 1.1. Područje i predmet proučavanja Rat je kronično stanje ljudskog roda, što je vidljivo iz istraživanja i zaključka povjesničara koje navodi Samuel Hynes u svojoj knjizi Priče vojnika: biti svjedokom modernog rata: Povjesničar Will Durant je izračunao da je u cjelokupnoj povijesti čovječanstva bilo samo 29 godina tijekom kojih se nije negdje vodio rat. A zasigurno, da je promatrao malo bolje, mogao je popuniti i te prazne godine; jer povijest čovječanstva, (…) je povijest rata.3 Prema istom autoru, 20. i 21. stoljeće ne pamte niti jedan jedini dan mira; štoviše svakodnevno se vode „deseci ratova širom svijeta.“4 Rat je jedna i od najčešćih tema u književnosti; Homerova Ilijada kao temeljno djelo zapadnoeuropske kulture zapravo je pjesma o ratu i junacima, a i kasnija je književna produkcija djela koja tematiziraju rat iznimno brojna i popularna upravo zbog činjenice da je rat, a ne mir karakteristično okruženje pojedinca unazad stotinjak godina. 1 Siniša Glavašević, Priče iz Vukovara, Matica hrvatska, Zagreb, 2001., str. 11. 2 Philip Caputo, A Rumor of War, An Owl Book, New York, 1996., str. 81. 3 Samuel Hynes, Soldiers' Tale: Bearing Witness to Modern War, The Penguinn Press, 1997., str. xi., vlastiti prijevod 4 Isto, str. xi-xii. 5 Kako su Sjedinjene Američke Države nacija rođena iz revolucije i rata koja je tijekom svoje relativno kratke prošlosti rijetko vojno mirovala, a od sredine prošlog stoljeća zauzela poziciju svjetske vojne sile koju zadržava do danas, predmet proučavanja ovog rada upravo je suvremena američka ratna proza 20. i 21. stoljeća. Konkretno, proučavat će se romani iz četiri ratna sukoba tog vremena, Prvi i Drugi svjetski rat, Vijetnamski rat i Zaljevski ratovi, i to iz sljedećih razloga: Prvi svjetski rat kao prvi rat globalnih razmjera imao je i globalni utjecaj na društvo; razorio je stoljetna carstva i uspostavio nove granice te redefinirao odnos europskih i svjetskih sila. Amerika se u taj rat uključila relativno kasno, ali je imala veliku ulogu u političkim odlukama nakon rata. Drugi svjetski rat bio je višestruko razorniji od Prvog, a Amerika se nakon njega nametnula kao gospodarska i vojna velesila. Usprkos posljedicama tog rata, 50-e i 60-e godine prošlog stoljeća bile su razdoblje blagostanja i napretka u Americi. Vijetnamski rat do danas ostaje najduži rat koji je Amerika vodila i službeno jedini rat koji je izgubila, što je uvelike utjecalo na američku politiku i podijelio američko društvo. Prvi zaljevski rat i Rat u Iraku (poznat i kao Drugi zaljevski rat) ovdje će se proučavati kao jedna tematska jedinica obzirom da su se ti ratovi vodili na istom području, protiv istog neprijatelja u relativno kratkom vremenskom rasponu. Usprkos svojoj kratkoći, Prvi je zaljevski rat bio psihološki važan za Ameriku i njene političare jer je još jednom demonstrirao vojnu i tehničku nadmoć koalicijskih zemalja na čelu s SAD-om. Rat u Iraku svojim se trajanjem ozbiljno približio Vijetnamskom ratu i time još jednom probudio sumnju društva u političke vođe i opravdanosti rata. Pored navedenih društvenih i političkih implikacija, razlog zašto su odabrani romani proizašli baš iz ovih sukoba leži i u činjenici da do Građanskog rata Amerika nije imala razvijenu autohtonu ratnu književnost, a i malo je ratnih tekstova uopće sačuvano iz razdoblja prije sredine 19. stoljeća. Tek je 1895. godine roman o Američkom građanskom ratu, Crveni 6 znak hrabrosti Stephena Cranea, označio početak američke ratne književnosti i američkog realizma jer kako Beidler navodi, prikaz rata u američkoj književnosti bio je marginalan i romantiziran sve do Građanskog rata, a njegovo se pravo lice otkrivalo tek u tada „neknjiževnim vrstama poput pisama, dnevnika i memoarske proze.“5 Aichinger u svojoj studiji Američki vojnik u fikciji 1880.-1963. tvrdi da se ratni roman kao poseban žanr pojavio tek nakon 1880 “kao posljedica nestanka granice“ (disappearance of the frontier6), „većeg sudjelovanja Amerike u inozemnim ratovima“ te „usponom vojnog establišmenta“7 odnosno u trenutku kada su se Sjedinjene Američke Države definirale kao zemlja koja je razvila vlastitu vojsku. Vernon u svojoj studiji Vojnici jednom i sada: Ernest Hemingway, James Slater & Tim O'Brien nadalje objašnjava kako su „američki književni realizam i američka ratna fikcija zapravo blizanci“8 jer se razlozi koje je naveo Aichinger odvijaju paralelno s „ književnim realizmom Henryja Jamesa i Williama Deana Howellsa.“9 Uže područje rada temelji se na proučavanju lika američkog vojnika u američkim ratnim romanima, njegovog odnosa prema društvu i društvenog odnosa prema njemu te načinu na koji ratno iskustvo (ne)transformira taj odnos. Konkretno, na izabranim će se djelima pokušati ustvrditi sličnosti ili razlike s društvenom slikom vojnika i onom u književnosti. Svi izabrani romani za analizu mogu se okarakterizirati kao anti-ratni, ili subverzivni10 jer svojim pristupom izražavaju kritiku američkog društva, politike i/ili rata. Područje rada i predmet stoga su uvelike usmjerili izbor američkih romana za analizu. Prvi kriterij odabira bili su dakle romani koji su tematizirali navedene ratove. Drugo, američki 5 Philip D. Beidler, „Introduction“, u William March, Company K, University of Alabama Press, Tuscaloosa, 1989., str. xiii., vlastiti prijevod. 6 Disappearence of the frontier ili nestanak granice značilo je da su se Sjedinjene Američke Države teritorijalno proširile od obale Atlantskog do obale Tihog Oceana pa više nije postojala zapadna teritorijalna točka prema kojoj bi se američki narod trebalo širiti. 7 Peter Aichinger, The American Soldier in Fiction, 1880-1963: A History of Attitudes toward Warfare and the Military Establishment, Iowa University Press, Ames, 1975., str ix., vlastiti prijevod. 8 Alex Vernon, Soldiers Once and Still: Ernest Hemingway, James Slater & Tim O'Brien, University of Iowa Press, Iowa City, 2004, str. 43., vlastiti prijevod. 9 Isto, str. 43. 10 Riječ subverzivan preuzeta je iz dvije studije o američkoj drami Sanje Nikčević koja je taj korpus proučavala i analizirala u odnosu na američki san te u dramama ustanovila subverzivan i afirmativan odnos prema njemu.
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