Анали Филолошког факултета
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Annals of the Faculty of Philology, the oldest academic journal of the Faculty of Philology, University of Belgrade, publishes original research articles and critical review papers dealing with linguistic theory, applied linguistics, literature studies and other related disciplines. We also publish reviews of recently published linguistic and literature studies books.
The journal was founded in 1961 when the Faculty of Philology was established as an independent unit within the University of Belgrade, and has a long tradition of publishing articles on different languages and literatures studied at this institution of higher learning.
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- Myths and Archetypes in Rushdie’s Postcolonial World
- The following study analyses the realisations of the collective unconscious – archetypes and myths – in the world of postcolonial magical realism of Salman Rushdie in Midnight’s Children. The introduction provides a theoretical framework which relies on Jungian theory of the collective unconscious and archetypes. Archetypes create myths, religions, fairy tales and folk tales, and these creations become representatives of entire nations and epochs. Furthermore, the study examines the ways and reasons myths are implemented, since myths can serve as a tool for tapping into the collective unconscious. The paper gives special attention to religion (spirituality) and sexuality, as innate architypes and needs. Since Rushdie turns his back on Victorian and Indian tradition, giving advantage to postcolonial impulses and attitudes believing in an atheistic world that rejects myths, in the implementation of magical elements he sees an opportunity for the colonised and oppressed to finally rise above their oppressors.
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- Nevinost djece i tajni životi odraslih u prozi Flannery O’Connor
- U O’Connorinom romanu Mudra krv, kao i u pripovijetki „Hram Svetog Duha“, dijete-protagonista susreće se sa nekom tajnom života odraslih. Gotska fikcija, kako dokazujemo, uvijek podrazumijeva perspektivu nevinosti koja omogućava da priča ostane trajno nerazumljiva, fragmentirana, a time i zastrašujuća. Gotska narativna perspektiva se uspostavlja tek tamo gdje postoji neka netransparentnost, neki „mrtvi ugao“, zagonetka u pogledu prirode svijeta i ljudi, nešto neodgonetljivo i mračno. Djetinjstvo je (u „Hramu Svetog Duha“ u kojem anonimna djevojčica prisluškuje nejasan govor o „dvopolnoj nakazi“ ili u Mudroj krvi u kojoj dječak Hazel Motes posmatra „zabranjeni prizor“ u cirkusu) postalo mjesto nevine perspektive iz koje se može vidjeti nešto od tajni odraslih, neka još uvijek mračna i nejasna istina o stvarnom životu i svijetu, govor ili prizor posredovan kodovima opreznosti, odlomcima prijetećih riječi. U ovoj vrsti proze, dječji pogled „goticizuje“ tajne odraslih. No, kod O’Connorove dešava se važan značenjski obrt: gotska „praznina“ ostavljena nepotpunim razmijevanjem popunjava se, neočekivano, modelima biblijske sakralnosti. Ove promjene epistemičke perspektive (iz gotske „epistemičke anksioznosti“ u biblijsko „otkrovenje“) predstavljaju važnu osobenost proze Flannery O’Connor.