hrvatski

U kanonu. Studije o dvojništvu

Focused on the phenomenon of doubling, understood both as a constant anthropological structure and as a sign of modernity, a psychic obsession and literary figure, procedure or motive, this study, composed “ in (the) canon” , embraces fourteen interpretations of narrative and dramatic works by foreign and Croatian authors said to be “ canonical” . It unites authors as varied as Dante, Marivaux and Wilde, Tommaseo, Poe and Krleža, Marin Držić, Virginia Woolf and Samuel Beckett, Moli&egrave ; re, Milan Begović and Umberto Saba, all writers taking part in a literary lineage that Pirandello, also one of the authors analysed here, would call “ humoristic” – that is, devoted to internal reflection and fissure, to doubling of its instances and structures, of its ontology as well as of its apparently exclusive belonging to the medium of language. The aim of the introduction to the book (“ The double: from theme to method” ) is to dissociate “ the double” from its typical destiny in either historically or thematically oriented studies in which it figures as a primary topic, most often in its explicitly anthropomorphic form – that is, the form of a doubled character. Here, the double is treated as a disincarnating designation, in its paradoxical and “ anasemic” capacity: the double simultaneously signifies and suspends what it signifies, just as fiction itself and its essentially inessential optical and acoustic components – images and rhythms. That is why the discussions of particular “ pretexts” of the book are organised around certain recurrent interests, articulated in five interdependent sections. The first one, entitled “ Word and image, doubles of each other” , contains chapters dedicated to the examination of metapoetic dimensions envisaged y procedures of exchange and transposition – for instance, figure of hypotyposis, dramatisation, hybridisation of genres, illustration – between narrative discourse and painting, novel and theatre, short story and drawing. The doubling of one aesthetic medium or genre by another one enables the work of art, through the confrontation with its other, to discern in its interior the borders of its own delimitation or definition: the double serves as a measure of the performative reciprocity between the verbal and the visual. The second section, “ The double’ s identity” , unites studies that explore problems posed by the construction of identity, whether the identity of the human individual (as semantic axis and performative product of narrative or dramatic texts), or the one of texts themselves. The fixation-fiction of identity, human or textual, relies on the essence and totality presumed by the interpretation, whereas here it is conceived as a provisory double always open to the abyss of the language. The next section, “ Woman spectator/ reader/ actress” deals with sexual difference in order to penetrate more deeply into the same issues of identity-fiction, of the always uncertain and different character of reading, of the compulsive iterability of pre-constituted models that govern each approach to the “ text” – or to the dream, the film, the invention – in an endeavour to reach its singularity. However, it never stops behaving as a double, an actor or an extra with respect to what one is searching for: the question is how to know whether there is a “ core” under the “ outside” , a referential reality under the signifying surface of the “ screen” , or whether the interpretation – in criticism or in the intra-diegetic commentary – while trying to destroy the mendacious appearances, continues to fabricate new ones. The haunting of the model, the schema, the pattern, the prototext, the involuntary imitation, that menaces the freedom of choice and the thirst for integrity, is put to test by the fourth section, “ Life according to the double” : the obscure force of repetition which duplicates, which one feels pressured to fight against, the mortal enemy of individuality, is finally revealed to be its very original. The concluding section, “ Double, rival, fellow sufferer” interrogates mirroring effects of actual or ideal twin-relationships, as well as complications provoked by the ambivalences of order and disorder of the symmetry: the rivalry between doubles does not pertain only to the anthropomorphic actors in diegetic worlds, whether fictional or “ real” ones ; it can appear between the mythical idea of the original and the conquering representation which destroys its uniqueness. Beyond these thematic groupings, and the variety, whether of texts dealt with or methodological instruments borrowed from the vast spectre of theoretical fields – philosophy of language, Freudian and Lacanian psychoanalysis, Girardian anthropology, semiotics, Greenblatt’ s New historicism, gender studies, performance studies, visual studies, Jakobson’ s structural poetics, Derrida’ s thought on iterability or Ricoeur’ s on narrative identity, etc. – all the studies contained in this book follow or intertwine a number of problematic threads, constituted by the curiosity for mirroring structures of texts and their internal chiasms ; for the mirroring realised between the diverse instances of narrative discourse (narrator – character – reader) or dramatic discourse (performance – character/actor/ actress – spectator) ; for the theme, place, function, direction and codification of the look, for its proprietor, its visual field and its own visibility ; for the desired and undesirable correlations between literary texts and paratexts, biographical texts and their models ; for the “ fraternal rivalries” between characters, authors, texts and their meta- and inter- texts ; for the doublings implying the inversion of sexes – of authors, characters, actors, readers ; for the affiliations between media – between the narrative discourse and the dramatic discourse, between narration and painting, between theatre and cinema ; for the ontological doubling of fiction.

dvojnik; reprezentacija; interpretacija

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