Lipar 49 2

XIII / 49/2 / 2012.
Editorial Board
.
- ,

aslav Nikoli, Assisstant Professor

Faculty of Philology and Arts, Kragujevac
Editor in Chief
.
- ,
Vladimir Polomac, Assisstant Professor

.
- ,
Nikola Bubanja, Assisstant Professor


- ,
Jelena Arsenijevi, Assisstant

Radomir Mitri
.
. , ,
prof. Persida Lazarevi di Giakomo, PhD

he G. dAnnunzio University, Pescara, Italia
.
,
Jelenka Pandurevi, Assisstant Professor

Faculty of Philology in Banja Luka, Bosnia and
Hercegovina

, ,
Svetlana Kalezi, Assisstant Professor

Faculty of Philosophy in Niki, Montenegro

, ,
Ivan Maji, Assisstant Professor, PhD

Faculty of Philosophy in Zagreb, Croatia
.

, ,
Ostap Slavinski, Assisstant Professor

Faculty of Philology, Ivan Franko National
University of Lviv, Ukraine
.
, ,
Borjan Janev, Assisstant Professor

University of Plovdiv, Plovdiv, Bulgaria

- ,
Editorial assistant
Bojana Veljovi
.
.
.
, ,
Journal of Literature, Language, Art and Culture
XIII / 49/2 / 2012
Year XIII / Volume 49/2 / 2012
/ Thematic issue
/ LITERATURE AND ACTIVISM
/ Editors
/
Prof. Ljiljana Bogoeva Sedlar, PhD and Jelena Arsenijevi Mitri

University of Kragujevac
Ljiljana Bogoeva Sedlar
LITERATURE AND ACTIVISM INTRODUCTORY NOTE
14
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WHEN WE DEAD AWAKEN:

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13
LITERATURE AND ACTIVISM INTRODUCTORY

NOTE
My people
When
Out of alien days
On reknotted shoulders will you sprout a head really your own
And your word
The notice dispatched to the traitors
To the masters
The restituted bread the washed earth
The green earth
When
When will you cease to be the dark toy
In the carnival of others
Or in anothers field
The obsolete scarecrow?
Tomorrow
When is tomorrow my people
(...)
Aim Csaire, Out of Alien Days, FERREMENTS, 19609
Essays and translations collected in this issue of LIPAR are intended
as a contribution to the UNESCO celebration of art and activism, initiated
by the UN in September 2011. As the official documents state, UNESCOs
program Rabindranath Tagore, Pablo Neruda and Aim Csaire for a Reconciled Universal was launched to honor these poet-activists from India,
Chile and Martinique respectively, because they reacted fiercely to the
contradictions of an inequitable system and an unfair world and fought
throughout their lives for ideals of humanism reflected in the words Love,
Freedom, Justice and Peace. The course on Art and Activism, which many
authors of the essays in this collection attended during their doctoral studies at the University of Kragujevac, fitted well into this approach. In this
volume, inspired by the course, the honors UNESCO bestowed on Tagore,
Neruda and Csaire are extended to Harold Pinter, Peter Sellars, Arundhati Roy, John Berger, Sebastio Salgado, Caryl Churchill, Kurt Vonnegut,
Gore Vidal, Paulo Freire, Augusto Boal, Adrienne Rich, Nadja and Steve
9 Aim Csaire, Hors des jours trangers, from Aim Csaire: The Collected Poetry, Translated, with
Introduction and Notes by Clayton Eshleman and Annette Smith, University of California Press,
Berkeley, Loss Angeles and London, 1983, pp. 348-9
14
/ , ,
Tesich, Simone Weil, B. Wongar, J. M. G. Le Clzio, E. P. Thompson, Aurora Levins Morales, Alice Walker, Ariel Dorfman and other artist-activists
who also spent their lives fighting for the ideals of humanism the United
Nations wish to recommend and celebrate. They never ceased from mental
fight and, as William Blake put it, the sward of art never slept in their hand,
because obstacles to building a juster world are many, and oppositions to
positive change fierce.
The UNESCO commemorations of Tagore are over. The anniversary
of Nerudas death (after the 9/11 coup in Chile, in 1973), and the centenary
of Csaires birth, will be celebrated in 2013. Neruda is well known in
Serbia and the fact that in 2005 Harold Pinter quoted Nerudas poem
Im Explaining a Few Things in his own Nobel Prize Lecture, confirmed
the continued relevance of Nerudas art for the rest of the world. The
same cannot be said of Csaire, even though the poem at the beginning
of this note demonstrates how applicable his address to his own people,
from the sixties, is to the Serbs today. Perhaps the UNESCO celebration
will encourage the translation into Serbian of Csaires 1955 Discourse on
Colonialism, as well as of the plays he wrote later, especially his version
of Shakespeares The Tempest and A Season in the Congo (about Patrice
Lumumba), translated by Gayatri Chakravorty Spivak into English in 2010.
Csaires opus, and the other works of art discussed in this volume, are best
described (to borrow the title of one of Pierre Bourdieus books) as literary
Acts of Resistance Against the New Myths of Our Time. Because this issue
LIPAR manages to feast only a few of the deserving artists-activists, its
primary goal is to renew interest in, and appreciation of, engaged art, and
encourage others to extend its celebration.
Prof. Ljiljana Bogoeva Sedlar, PhD
15

821.214-31.09 .
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3 The basic cultural value of a prize depends upon what it is a stimulus to. To the conformity of
the market and the consensus of average opinion; or to imaginative independence on the part of
both reader and writer. If a prize only stimulates conformity, it merely underwrites success as it is
conventionally understood. It constitutes no more than any other chapter in a success story. If it
stimulates imaginative independence, it encourages the will to seek alternatives. Or, to put it very
simply, it encourages people to question.
The reason why the novel is so important is that the novel asks questions which no other literary
form can ask: questions about the individual working on his own destiny; questions about the uses
to which one can put a life - including ones own. And it poses these questions in a very private way.
The novelists voice functions like an inner voice. [] One does not have to be a novelist seeking very
subtle connections to trace the five thousand pounds of this prize back to the economic activities from
which they came. Booker McConnell have had extensive trading interests in the Caribbean for over 130
years. The modern poverty of the Caribbean is the direct result of this and similar exploitation. One of
the consequences of this Caribbean poverty is that hundreds of thousands of West Indians have been
forced to come to Britain as migrant workers. Thus my book about migrant workers would be financed
from the profits made directly out of them or their relatives and ancestors. More than that, however,
is involved. The industrial revolution and the inventions and culture which accompanied it and which
created modern Europe was initially financed by profits from the slave trade. And the fundamental
nature of the relationship between Europe and the rest of the world, between black and white, has not
changed. InG.the statue of the four chained Moors is the most important single image of the book.
This is why I have to turn this prize against itself. And I propose to do so by sharing it in a particular
way. The half I give away will change the half I keep. [] This is why I intend to share the prize with
those West Indians in and from the Caribbean who are fighting to put an end to their exploitation.
The London-based Black Panther movement has arisen out of the bones of what Bookers and other
companies have created in the Caribbean; I want to share this prize with the Black Panther movement
because they resist both as black people and workers the further exploitation of the oppressed. And
because, through their Black Peoples Information Centre, they have links with the struggle in Guyana,
the seat of Booker McConnells wealth, in Trinidad and throughout the Caribbean: the struggle whose
aim is to expropriate all such enterprises.
(, , .)
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5 My thesis is that Ive been saddled with this double-barrelled appellation, this awful professional
label (writer-activist), not because my work is political, but because in my essays, I take sides. I take
a position. I have a point of view. Whats worse, I make it clear that I think its right and moral to take
that position and whats even worse, use everything in my power to flagrantly solicit support for that
position. For a writer of the twenty-first century, thats considered a pretty uncool, unsophisticated
thing to do. It skates uncomfortably close to the territory occupied by political party ideologuesa
breed of people that the world has learned (quite rightly) to mistrust. Im aware of this. Im all for
being circumspect. Im all for discretion, prudence, tentativeness, subtlety, ambiguity, complexity... I
love the unanswered question, the unresolved story, the unclimbed mountain, the tender shard of an
incomplete dream. Most of the time.
But is it mandatory for a writer to be ambiguous about everything? Isnt it true that there have been
fearful episodes in human history when prudence and discretion would have just been euphemisms for
pusillanimity? When caution was actually cowardice? When sophistication was disguised decadence?
When circumspection was really a kind of espousal?
Isnt it true, or at least theoretically possible, that there are times in the life of a people or a nation
when the political climate demands that weeven the most sophisticated of usovertly take sides? I
believe that such times are upon us. And I believe that in the coming years, intellectuals and artists
will be called upon to take sides, and this time, unlike the struggle for Independence, we wont have the
luxury of fighting a colonising enemy. Well be fighting ourselves.
We will be forced to ask ourselves some very uncomfortable questions about our values and traditions,
our vision for the future, our responsibilities as citizens, the legitimacy of our democratic institutions,
the role of the state, the police, the army, the judiciary and the intellectual community.
6 There is an intricate web of morality, rigour and responsibility that art, that writing itself, imposes
on a writer. It is singular, individual, but nevertheless its there. At its best, its an exquisite bond
between the artist and the medium.
22
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(8 What flows into you from the myth is not truth but reality (truth is always about something, but
reality is about which truth is), and therefore, every myth becomes father of innumerable truths on the
abstract level. Myth is the mountain whence all the different streams arise which become truths down
here in the valley.
9 The peculiar thing about man, which distinguishes us from all other beasts of the kingdom, is that
we are born, as already remarked (supra, p.45), twelve years too soon
24
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But perhaps, too, we will remember the Declaration of Independence itself, the product of what
John Adams called Thomas Jeffersons happy talent for composition. Take some time this week to
read it alone, to yourself, or aloud, with others, and tell me the words arent still capable of setting
the mind ablaze. The founders surely knew that when they let these ideas loose in the world, they could
never again be caged.
Yet from the beginning, these sentiments were also a thorn in our side, a reminder of the new nations
divided soul. Opponents, who still sided with Britain, greeted it with sarcasm. How can you declare All
men are created equal, without freeing your slaves?
Jefferson himself was an aristocrat whose inheritance of 5000 acres and the slaves to work it, mocked
his eloquent notion of equality. He acknowledged that slavery degraded master and slave alike, but
would not give his own slaves their freedom. Their labor kept him financially afloat. Hundreds of
slaves, forced like beasts of burden to toil from sunrise to sunset under threat of the lash, enabled him
to thrive as a privileged gentleman, to pursue his intellectual interests, and to rise in politics. Even the
children born to him by the slave Sally Hemings, remained slaves, as did their mother. Only an obscure
provision in his will released his children after his death. All the others scores of slaves were sold
to pay off his debts.
Yes, Thomas Jefferson possessed a happy talent for composition but he employed it for cross
purposes. Whatever he was thinking when he wrote all men are created equal, he also believed blacks
were inferior to whites. Inferior, he wrote, to the whites in the endowments both of body and mind.
To read his argument today is to enter the pathology of white superiority that attended the birth of
our nation.
11 In God We Trust
26
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12 US Attorney General John Ashcroft recently declared that US freedoms are not the grant of any
government or document, but... our endowment from God. (Why bother with the United Nations
when God himself is on hand?)
So here we are, the people of the world, confronted with an Empire armed with a mandate from heaven
(and, as added insurance, the most formidable arsenal of weapons of mass destruction in history.)
27
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.14 (Reagan 1983)

Rather like the British administrators did in the Raj, the Romans let the Iceni retain some privileges
and a token independence in return for the payment of tribute, the provision of auxiliary recruits for
the Roman army, and the accceptance of aid. Aid as imperialism is not a new concept, and like many
Third World countries today the Iceni accepted laons from Roman financiers to help them become,
by degrees, Romanised. This probably involved buying Roman luxury products just as it might today
include, say, buying a Coca-Cola monopoly.

Freedom prospers when religion is vibrant and the rule of law under God is acknowledged. When
our Founding Fathers passed the First Amendment, they sought to protect churches from government
28
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interference. They never intended to construct a wall of hostility between government and the concept
of religious belief itself.
The evidence of this permeates our history and our government. The Declaration of Independence
mentions the Supreme Being no less than four times. In God We Trust is engraved on our coinage.
The Supreme Court opens its proceedings with a religious invocation. And the members of Congress
open their sessions with a prayer. I just happen to believe the schoolchildren of the United States are
entitled to the same privileges as Supreme Court Justices and Congressmen.
15 the rule of law under God

It was C.S. Lewis who, in his unforgettable Screwtape Letters, wrote: The greatest evil is not done
now in those sordid dens of crime that Dickens loved to paint. It is not even done in concentration
camps and labor camps. In those we see its final result. [...] But whatever sad episodes exist in our
past, any objective observer must hold a positive view of American history, a history that has been the
story of hopes fulfilled and dreams made into reality. Especially in this century, America has kept alight
the torch of freedom, but not just for ourselves but for millions of others around the world. At the
same time, however, they must be made to understand we will never compromise our principles and
standards. We will never give away our freedom. We will never abandon our belief in God. And we will
never stop searching for a genuine peace. But we can assure none of these things America stands for
through the so-called nuclear freeze solutions proposed by some.
29
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According to the view of the ancient Persian kings, it was they who, in a special way, were the
representatives on earth of the cause and will of the Lord of Light. And so we find that in the grat
multiracial and multicultural empire of the Persians which, in fact, was the first such empire in the
history of the world there was a religiously authorized imperialistic impulse to the end that, in the
name of truth, goodness, and the light, the Persian King of Kings should become the leader of mankind
to the restitution of truth. The idea is one that has had a particular appeal to kings and has been taken
over, accordingly, by conquering monarchs everywhere.
18
http://www.pbs.org/wnet/americanmasters/episodes/george-lucas/about-george-lucas/649/
30
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19 Its characteristic of such social myth-making that it can swing from one extreme to the other
without any sense of inconsistency, and so we also have progress myths, of the kind that rationalize
the spreading of filling stations and suburban bungalows and four-lane highways over the landscape.
[...] People who can do nothing but accept their social mythology can only try to huddle more closely
together when they feel frightened or threatened, and in that situation their clichs turn hysterical.
20
, The Cross nd the Lynching Tree ( , 2011),
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21 Yes, Ive heard the bomb is in the Vedas. It might be, but if you look hard enough, youll find
Coke in the Vedas too. Thats the great thing about all religious texts. You can find anything you want
in themas long as you know what youre looking for.
22 http://twitscope.wordpress.com/2008/07/12/evidence-of-nuclear-explosion-in-ancient-india/
32
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23 I am at the barbers, and a copy of Paris-Match is offered to me. On the cover, a young Negro in
a French uniform is saluting, with his eyes uplifted, probably fixed on a fold of the tricolour. All this
is the meaning of the picture. But, whether naively or not, I see very well what it signifies to me: that
France is a great Empire, that all her sons, without any colour discrimination, faithfully serve under
her flag, and that there is no better answer to the detractors of an alleged colonialism than the zeal
shown by this Negro in serving his so-called oppressors.
24
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33
, Myth as stolen language

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25 It must not be forgotten that [slavery] is no more abnormal than the domestication of the horse or
the ox. It is therefore possible that it may reappear in the future in one form or another. It is probably
even inevitable that this will happen if the simplistic solution does not come about instead - that of
a single superior race, leveled out by selection. [...] The barbarian is of the same race, after all, as the
Roman and the Greek. He is a cousin. The yellow man, the black man, is not our cousin at all. Here
there is a real difference, a real distance, and a very great one: an ethnological distance. After all,
civilization has never yet been made except by whites If Europe becomes yellow, there will certainly
be a regression, a new period of darkness and confusion, that is, another Middle Ages.
35
the doors of perception)

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It didnt matter that the story had begun, because kathakali discovered long ago that the secret of
the Great Stories is that they have no secrets. The Great Stories are the ones you have heard and want
to hear again. The ones you can enter anywhere and inhabit comfortably. They dont deceive you with
thrills and trick endings. They dont surprise you with the unforeseen. They are as familiar as the house
you live in. Or the smell of your lovers skill. You know how they end, yet you listen as you dont. In
the way that although you know that one day you will die, you live as though you wont. In the Great
Stories you know who lives, who dies, who finds love, who doesnt. And yet you want to know again.
That is their mystery and their magic.
36
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. O .27
,
. : , ,
.28
(Roy 2002: 175). ( , ,
y y y
) 27 , a
, ,
.

True, The God of Small Things is a work of fiction, but its no less political than any of my essays.
37
,
The End of Imagination ( ) The Algebra of Infinite
Justice ( ). o

,
:
. . .

. .
.
, . ,
. , . .
. , , .29 (Roy 2002: 15)
1972: R. Barthes, Mythologies, New York: Farrar, Straus and Giroux.

Berger, J. Speech on Accepting the Booker Prize for Literature. November,
1972.<http://gostbustere.tumblr.com/post/17158444595/speech-by-john-bergeron-accepting-the-booker-prize-for>. 05.08.2012.
2005: M. Wood, In Search of the Dark Ages, London: BBC Books.
2006: . , :
, , :
.
Durant 2006: W. Durant, The Story of Philosophy, New York: Pocket Books.
2007: B. L. Edwards, C.S. Lewis: An examined life, Westport: Greenwood
Publishing
1993: J. Campbell, Myths to Live By, Hawthorn: Penguin Books Australia.
Moyers and Co, Confronting the Contradictions of Americas Past, June 29, 2012.
Pinter, H, Nobel Prize Speech, 2008.
Reagan, R, Evil Empire speech, march, 1983. <http://www.nationalcenter.org/
ReaganEvilEmpire1983.html>. 14.07.2011.
Reed, D., , Woman and spirituality: Godess Remembered, Wellspring, 1993.
DVD
Roj 1997: Arundhati Roy, The God of Small Things, London: Flamingo: Harper Collins.
Roj 2002: . Roy, The Algebra of Infinite Justice, London: HarperCollinsPublishers.
Roj 2004: A. Roy, The Ordinary Persons Guide to Empire, London:
HarperCollinsPublishers.
1972: A. Csaire, The Discourse on Colonialism, New York and London:
Monthly Review Press.

To love. To be loved. To never forget your own insignificance. To never get used to the unspeakable
violence and the vulgar disparity of life around you. To seek joy in the saddest places. To pursue beauty
to its lair. To never simplify what is complicated or complicate what is simple. To respect strength,
never power. Above all, to watch. To try and understand. To never look away. And never, never, to
forget.
38
/ , ,
F 1964: N. Frye, The Educated Imagination, Bloomington: Indiana University

Press.
F 1972: N. Frye, The Archetypes of Literature, reprinted from Fables of Identity;
Studies in poetic mythology (1963), in David Lodge, edt. (1972): 20th Century
Literary Criticism: A Reader, Harlow: Longman.
2000: N. Frye, Anatomy of Criticism, Princeton; Oxford : Princeton University
Press.
2003: . , , :
.
:
http://www.pbs.org/wnet/americanmasters/episodes/george-lucas/about-georgelucas/649/. 14. 07. 2011.
http://twitscope.wordpress.com/2008/07/12/evidence-of-nuclear-explosion-inancient-india/. 14. 07. 2011.
Danko Kamevski / Arundhati Roy: Myth and Lie
Summary / This paper examines the writing of the Indian writer Arundhati Roy.
She is compared with fellow artists-activists John Berger, Harold Pinter, and Aim
Csaire, because, like them, she has been a persistent and vocal critic of Colonialism,
Imperialism and Empires, in both their past and present forms. Central to her effort
has been the debunking of the political myths on which American expansionism is
based, because it has destroyed the lives of millions of people throughout the second
half of the twentieth century and the first decade of the new millennium. This political
misuse of myth, brilliantly theorized by Roland Barthes in his essay Myth Today, and
criticized by Arundhati Roy in her essays collected in The Algebra of Infinite Justice and
The Ordinary Persons Guide to the Empire, is contrasted with the creative use of myth,
analyzed by Archetypal critics such as N Frye and Joseph Campbell, and utilized by
Roy in her only novel, The God of Small Things.
Key words: Arundhati Roy, activism, myth, truth, imperialism, art, politics
: 25. 2012.
2012.
39
30 (Arundhati Roy, 1961),

.
, 1998. .
,
. .
, .

,
.
,
2010. , , .

.
30 , , .
.
40
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, , 2011
41
,
, 2011
42
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821.111.09 .
. 1
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. (G.)
: ,
,
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a : , ,
, j. ,
oa a : The Shape of
the Pocket ( ), Ways of Seeing ( ), The Spectre of Hope ( ),
Fellow Prisoners ( ).
: , , ,
, ,
.
/
,
2
, Why I Refuse the National Medal for the
Arts ( ) , o
o
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1 marko.t@neobee.net
2 a a A (Adrienne Rich), 1997.
, , a (John Berger), 1972. , a
2005. a,
a .
43
,
. ,
, ,
, ,
[]
, , .
, ,
(Muriel Rukeyser).
.
, e (Clayton Eshleman)
, . []
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.3 (Rich 1997)
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.4
3 Mistrusted, adored, pietized, condemned, dismissed as entertainment, auctioned at Sothebys,
purchased by investment-seeking celebrities, it dies into the art object of a thousand museum
basements. Its also reborn hourly in prisons, womens shelters, small-town garages, community
college workshops, halfway houses [] whatever lets you know again that this deeply instinctual
yet self-conscious expressive language, this regenerative process, could help you save your life. If
there were no poetry on any day in the world, the poet Muriel Rukeyser wrote, poetry would be
invented that day. For there would be an intolerable hunger. In an essay on the Caribbean poet Aime
Cesaire, Clayton Eshleman names this hunger as the desire, the need, for a more profound and
ensouled world. [] Art is our human birthright, our most powerful means of access to our own and
anothers experience and imaginative life. In continually rediscovering and recovering the humanity
of human beings, art is crucial to the democratic vision. A government tending further and further
away from the search for democracy will see less and less use in encouraging artists, will see art as
obscenity or hoax.
(, , )
4 , , ,
,
44
/ , ,
, ,
. :
,
,
. ?
?

?
?
?5 (Rich 1997)
Aj ,
ao . 1972.
. , , :
:
[]
. [] ,
. ( 1972)
e o o, o o ,
,
, :
,
,
,
.
.
.
.
.6 ( 1972)
( ) .
5 Marxism has been declared dead. Yet the questions Marx raised are still alive and pulsating,
however the language and the labels have been co-opted and abused. What is social wealth? How do
the conditions of human labor infiltrate our social relationships? What would it require for peole to
live and work together in conditions of radical equality? How much inequality will be tolerated in the
worlds richest and most powerful nations? Why and how have these and similar questions become
discredited in public discourse?
6 Before the slave trade began, before the European de-humanised himself, before he clenched
himself on his own violence, there must have been a moment when black and white approached each
45
, , .
.:

,
, ,
.7 ( 1972)
A Seventh Man: Migrant Workers in Europe
( : ) 1975. ,
.8 . (
, 1972. )

--. , ,
,
,
.

. , 2005. , ,
,
21. .
,
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.
.
other with the amazement of potential equals. The moment passed. And henceforth the world was
divided between potential slaves and potential slavemasters. And the European carried this mentality
back into his own society. It became part of his way of seeing everything.
7 I want some of the voices of the eleven million migrant workers in Europe and of the forty or so
million that are their families, mostly left behind in towns and villages but dependent on the wages of
the absent workers, to speak through and on the pages of this book.
8 John Berger and Jean Mahr, A Seventh Man: Migrant Workers in Europe, Verso Books, London, 2010
46
/ , ,
,
.9 (Pinter 2005)
, , . :
? Art,
Truth and Politics (, ),
. , (, )
9 [] unflinching, unswerving, fierce intellectual determination, as citizens, to define the real truth
of our lives and our societies is a crucial obligation which devolves upon us all. It is in fact mandatory.
If such a determination is not embodied in our political vision we have no hope of restoring what is so
nearly lost to us - the dignity of man.
47
: , ,
, .
je .
10, , . , ,
. , , (
)
. , ,
:
,
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.11 (Pinter 2005)
, ,
,
, . , 12 (1999),
Cultural Activism In the New Century (
), , 13 ,
, ,
.
,
1967. Beyond Vietnam A Time to Break
Silence ( ) c ,
. , 10 , , ,
.
11 To maintain that power it is essential that people remain in ignorance, that they live in ignorance
of the truth, even the truth of their own lives. What surrounds us therefore is a vast tapestry of lies,
upon which we feed.
12
.
13 (2007) ,
, , .
48
/ , ,
; ,
,
.

. (King 1969)
ooc , ,

. o a:

( 1973: 92).
a, e a
, , , ,
:

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,
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e a . , (1982) ,
. To je o Los
Angeles Poverty Department ( ),
,
War Follows Everyone Home ( ),
e Hercules () 2011. . ,
, ,
, . ,
: , ( !) o a , a . ,
, (2011)
, , ,
.
49

,
,
-
14, Signs out
of Time ( ) . , , , , ,
, , ,

.
, ,
, , . ,
, , ,
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. (Read 2004)
.
o je , ,
The Chalice and the Blade: Our History, Our Future ( :
, )
:
.

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.
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,
, ,
. , , 14 , :

. 1955. Fellow of Harvards Peabody Museum.
, 1963.
(UCLA).
50
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, ,

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.
The Burnig Times ( )
(1990) ,
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, .

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;
,
, . a ,
, je (, , , ) .
, , = , . /

. The Dinner
Party ( ) .
, , , .

, ,

. , Lipar / Journal of Literature, Language, Art and Culture
51
., . .- ( , ), , : ,
, .
, , . , , ( ), :
( 1972a: 120), (124), (128), ,
, (158) , ,
(125). , (.-) ,
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, (148).
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.15 (149-150)
, , , , , ; ( )
( 2002: 66).
.
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. (63) ,
, . , , ,
, . (104)
. ,
,
She, the daughter of her mother, she, the child of God, she, the promise of her beloved Eduard,
she, the bride of her bridegroom in two months time, she, the mother of her future children, she, the
elder sister of her younger sisters, she must preserve her honour as daughter, Christian, promise, bride,
mother, sister. But she as I? [...] The experience was central to her life [] Everything that she had
been was turned to sand and shelved at the borders of this experience.
52
/ , ,
, , , ,
, , . ,
. (106) , , .,
(30) 1984.,
. (. 1984.)
:

( ), . , . ,
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.
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, (. 178179). , , (),
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53

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(. a naked body) (a nude).
,

18 She collaborated with you in the choice of the qualities to be idealized [] She suppressed the
aspects of herself [] She became your myth. The only myth which was entirely your own.
19 -- 1971. ,
. .,
.
54
/ , ,
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,
,
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.20 ( 1972a: 197)
(),
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20 To touch is to claim as property.

55
: .21
( 1972: 148)
, ,
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()
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(. 2001: 18-22). (15-16),

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21 She [Leonie] could distinguish too, as most women can, between a man who is begging for favours
and a man who, in face of a particular woman, is compelled to present himself to her as he is. This is
some of what she meant when she said to herself: he has come for me.
56
/ , ,
(22),
(to paint the existent), ,
. ,
, ,
A Portrait of a Kleptomaniac ( )22.
, ,
. . , , :
... 23
, .
, (175), () . ,
, .
[] ,

. , ; ,
.24 (176-177)
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, . (177-179) je,
,
.
, , , , ,
, (1972)
.
, ( ) (, ) ( ).
: , , ( ),
,
.

A Man With Tousled Hair ( )

. to paint the existent pain
24 [] Between the experience of living a normal life at this moment and the public narratives being
offered to give a sense to that life, the empty space, the gap, is enormous In such gaps people get lost,
and in such gaps people go mad.
57
(the existent),
(1972), . , , .
,
,
(
). , :
, , , .
, j ,
,
,
Migrations
(), , , , . , ,
: (
) ( ),
.
( ) , ,
, / ,
. ,
, ,
.25 (Carlin 2002)

,
, , http://www.
amazonasimages.com/travaux-exodes?PHPSESSID=a1f00d55223daaad50f4697d31ae71aa, 16. 10.
2012.
58
/ , ,
, The Algebra of Infinite

Justice ( ) 2002. ,
:

, ,
?26 (Roy 2002)
, ,

: ,
, ,
. ,
, .
, ,
, . , , , . (2002)
(2002) , , . ,
,
.
, 2011. . ,
; ,
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, . , : , , , , , , ,
, .
. ,
, ; .
.
26 Is corporate globalization going to close the gap between the priviledged and the unprivileged,
between the upper castes and the lower castes, between the educated and the illiterate?
59
1972: J. Berger, G., Harmondsworth: Penguin Books ltd.

Berger, J.,Ways of Seeing, BBC, 1972, DVD.
Berger, J.Ways of Seeing. 1972.
<http://v5.books.elsevier.com/bookscat/samples/9780240516523/9780240516523.
PDF>. 10. 09. 2012.
2001: J. Berger, The Shape of the Pocket, London: Bloomsbury Publishing Plc.
Berger, . Fellow Prisoners. Guernica, a magazine of art and politics. July 2011. http://
www.guernicamag.com/features/2875/john_berger_7_15_11/.
Berger, J. The Booker Prize Speech, Caf Royal, London, 1972
http://gostbustere.tumblr.com/post/17158444595/speech-by-john-berger-onaccepting-the-booker-prize-for. 10.10.2012.
Carlin, P., , The Spectre of Hope, Minerva Picture Company Ltd., 2002. DVD.
King, M. L. Beyond Vietnam A Time to Break Silence. Riverside Church, New
York City, delivered on 4th April 1967. http://www.americanrhetoric.com/speeches/
mlkatimetobreaksilence.htm.. 10. 09. 2012.
1982: . , , : .
1985: H. Markuse, Eros i civilizacija: Filozofsko istraivanje Freuda, Zagreb:
Naprijed.
Pinter, H. Nobel Lecture Art, Truth And Politics. 2005.
http://www.nobelprize.org/nobel_prizes/literature/laureates/2005/pinterlecture-e.html/. 10. 09. 2012.
Red, D.,, The Burning Times, National Film Board of Canada, 1990. DVD.
Red, D.,, Signs out of Time, Olympia Dukakis, Belili Productions,
2004. DVD.
Rich, A. Why I Refused the National Medal for the Arts. July, 1997. http://www.
hotink.com/8797.html. 10. 09. 2012.
2002: A. Roy, The Algebra of Infinite Justice, Penguin Books India.
Sellars, P. Cultural Activism In the New Century. August, 1999. <http://www.abc.
net.au/arts/sellars/text.htm>.
Sellars, P. War Follows Everyone Home. March, 2011. <http://www.youtube.com/
watch?v=U2e6JOUgUQs>.
1973: . From, Anatomija ljudske destruktivnosti, Zagreb: Naprijed.
2002: E. From, Umee ljubavi, Beograd: Compact Druck.
1985: C. Churchill, Plays 1, London: Methuen London Ltd.
Wallace, N., On Writing as Transgression, St. York University, England, October,
2007. <http://www.playwrightsfoundation.org/images/previous%20teachers/at_
jan08_transgressionFINAL.pdf> 10. 09. 2012.
Milica M. Vojinovi Tmui / Art and ctivism of John Berger
Summary / The aim of this paper is to connect the work of John Berger, a versatile
artist, critic, activist, with other renowened artists, social and literary critics of similar
convictions. Special attention is payed to Bergers novel G., notably to segments exemplifying Bergers feminist orientation. Bergers novel is placed within the humanist
tradition in social and cultural criticism. Furthermore, the paper deals with other
theoretical works of this author. In conclusion, this paper underlines the connection
between feminism, humanism, activism and art, and contrasts them to globalisation
as the dominant economical, political and ideological construct of modern societies.
Key words: art, activism, non-repressive society, globalisation
: 10. 2012.
2012.
60
/ , ,
(John Berger, 1926), , , , .

,
1962. . 1972. . .

, . --
The ways of seeing ( ),
.

. (Into their labours) Pig Earth (
), Once in Europa ( ), Lilac and
Flag ( ). ,
,
,
.
.
61

821.111-2.09 .
1
- ,
/ :

,
,
, .
,

, . ,
, ,
,
.
: , , , ,

,
.
, ,
, ,
. :
, ,

, , ,
, , .
, .
1 jelenajelena86@gmail.com
63
, , ,
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,
,
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. ,
, ,
,
.

o
, ,
,
, . ,
, , ,

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,
, ,
, ,

, . , ,
,
:

.2 (Eisler 1998: 17)
3 ,
(
) ,
, . , ,
. , 2 if we free ourselves from the prevailing models of reality, it is evident that there is another
alternative: that there can be societies in which difference is not necessarily equated with inferiority
or superiority.
(, , .)
3 partnership model
64
/ , ,
,
.4 (31)
, ,
,
. ,
,

. (27)5
-, .

, j , . , ,
, ,
. ,
, .
:
, , 4 In Crete, for the last time in recorded history, a spirit of harmony between women and men as joyful
and equal participants in life appears to pervade.
5 looked at from a strictly analytical or logical viewpoint, the primacy of the Goddess and with the
centrality of the values symbolized by the nurturing and regenerating powers incarnated in the female
body does not justify the inference that women here dominated men.
65

.6 (44)

, ,
, , ,
. : I 7 (7889) : II 8 (90-103),
. ,
,
:
. ,

, . , ,
(

), , , . ,
, .
.

. , , , , . C ce
cao ,
. ,
6 The one thing they all had in common was a dominator model of social organization: a social system in
which male dominance, male violence, and a generally hierarchic and authoritarian social structure
was the norm.
7 Reality Stood on Its Head: Part I
: (Mother-Murder Is Not a Crime),
(The Dominator and Partnership Model),
(The Metamorphosis of Myth)
8 Reality Stood on Its Head: Part II
: (The Rerouting of Civilization),
(The Absence of Goddess), (Sex and Economics),
(Dominator Morality), , , (Knowledge Is Bad, Birth
Is Dirty, Death Is Holy)
66
/ , ,
, , ,
.
, , e ja a ,
. (124)
.
, oaa
je

, , 9 (124)

o . K , o
,
, cea , . , , o o
, e ,
a a. (2005)
, ,
, , , ,
. , ,
. ,
10
,
, e . ,
, . , ,
, ,
. (Ibid.)
: , ,
, , ,
9 Jesus has long been recognized as one of the greatest spiritual figures of all time. By any criterion
of excellence, the figure portrayed in the Bible displays an exceptionally high level of sensitivity and
intelligence as well as the courage to stand up to established authority and, even at the risk of his life,
speak out against cruelty, oppression, and greed.
10 Political language, as used by politicians, does not venture into any of this territory since the
majority of politicians, on the evidence available to us, are interested not in truth, but in power and in
the maintenance of that power. To maintain that power it is essential that people remain in ignorance,
that they live in ignorance of the truth, even the truth of their own lives. What surrounds us therefore
is a vast tapestry of lies, upon which we feed.
67
. 11
, .
. O je
,
oje: ,
, ,
, ,
, , ,
, ,
, ,
, , ,
, ,

, ,
.12 (Csaire, 2000: 3)

- , , oe ,

,
. ,
,

.
a e aje. a , o
, : :
, , , , , ?
11 We have brought torture, cluster bombs, depelted uranium, innumerable acts of random murder,
misery, degradation and death to the Iraqi people and call it bringing freedom and democracy to the
Middle East.

Yes, it would be worthwhile to study clinically, in detail, the steps taken by Hitler and Hitlerism and
to reveal to the very distinguished, very humanistic, very Christian bourgeois of the twentieth century
that without his being aware of it, he has a Hitler inside him, that Hitler inhabits him, that Hitler is his
demon, that if he rails against him, he is being inconsistent and that, at bottom, what he cannot forgive
Hitler for is not crime in itself, the crime against man, it is not the humiliation of man as such, it is the
crime against the white man, the humiliation of the white man, and the fact that he applied to Europe
colonialist procedures which until then had been reserved exclusively for the Arabs of Algeria, the
coolies of India, and the blacks of Africa.
68
/ , ,

, , . ( 1973: 18)
,
. ,
,
. :

,
, .
, , ,
,13 (Baraka 1967: 3)
.
a , ,
.14
; ,
,
. (1973: 20) a , ,
,
.
,
, ,
,
,
. a,
1970. , :
,
, , ;
e ,
.15 (Baldwin 1970)
, , , ,
e e o . ,

Most white Western artists do not need to be political, since usually, whether they know it or not,
they are in complete sympathy with the most repressive forces in the world today.

There is no simple formula for relationship of art to justice. But I do know that art - in my own
case the art of poetry - means nothing if it simply decorates the dinner table of power which holds it
hostage. (Rich 1997)

Since we live in an age which silence is not only criminal but suicidal, I have been making as
much noise as I can, here in Europe, on radio and television in fact, have just returned from a land,
Germany, which was made notorious by a silent majority not so very long ago.
69
, , o a a e.
() , ,
, , ,
e e j.
o a ,
, ,
: , , .16 (Wallace 2007:1)
, ,
. Oa
, . ,
,
,17 (Ibid.) ,
o
. ,
, , ,
, .
a
, ao ja
je a aoa je
:

.
. ,
,18 (Baraka 1965:1)
, o cae
o a e e . -
oceoc.

16 For we live in a culture that is hostile to creativity and original thought that does not serve
capitalism, empire, and the most virulent by-products of those forces: racism, homophobia, classism
and sexism.
17 Transgression is, among other things, a dissection of ones self and a discovery of larger worlds.
18 The Revolutionary Theatre must Accuse and Attack anything that can be accused and attacked. It
must Accuse and Attack because it is a theatre of Victims. It looks at the sky with victims eyes, and
moves the victims to look at the strength in their minds and their bodies.
70
/ , ,
19
eo a .

a
, :

(Les Damns de la terre) ,
. . .
1925. .

- , , 1953. .
1956.
LAn V de la Rvolution Algerienne Les
Damns de la terre. 1961,
. 20(Churchill 1990: 90-146)
, e
,
o
. a , , .

, . , ,

.
19 O
. 1.
1954. 19. 1962. .

The play is partly based on Chapter 5 of The Wretched of the Earth (Les Damns de la terre) by Frantz
Fanon, and also owes a lot to the writings of R.D. Laing.
Fanon was born in 1925 in Martinique. He studied medicine in France and was appointed head of the
psychiatric department of the Blida-Joinville Hospital, Algeria, in 1953. He began helping the rebels and
in 1956. resigned from the hospital to work for the FLN, and wrote LAn V de la Rvolution Algerienne
and Les Damns de la terre. He died of leukaemia in 1961, a year before Algerian independence.
71
, . a ,
e
a. (
, o e e)
oaa e .
, , je
, joj
, , ()
.
, ,
. ,
, , je ,
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First we must study how colonization works to decivilize the colonizer, to brutalize him in the true
sense of the word, to degrade him, to awaken him to buried instincts, to covetousness, violence, race
hatred, and moral relativism; and we must show that each time a head is cut off or an eye put out in
Vietnam and in France they accept the fact, each time a little girl is raped and in France they accept
the fact, each time a Madagascan is tortured and in France they accept the fact, civilization acquires
another dead weight, a universal regression takes place, a gangrene sets in, a center of infection begins
to spread; and that at the end of all these treaties that have been violated, all these lies that have been
propagated, all these punitive expeditions that have been tolerated, all these prisoners who have been
tied up and interrogated, all these patriots who have been tortured, at the end of all the racial pride
that has been encouraged, all the bostfulness that has been displayed, a poison has been instilled into
the veins of Europe and, slowly but surely, the continent proceeds toward savagery.
73
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6. 2009. (Royal Court Theatre).
, : Seven Jewish Children (UK, 2009, The Guardian),
: (Jennie Stoller)
23 It just never occured to Franoise to be anything I didnt want, it simply didnt arise.
75
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24 But the very same women who most stubbornly refused to improve themselves and insisted on
keeping their own ways, these are the ones who dress like us now just so they can come out of the
native quarter without being noticed and come into the shops and cafs looking just like Frenchwomen
and murder us.
25 , ,
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tendencies
28 You wont find an area that has been so thoroughly cleared of subversive elements.
29 I shall grieve for my little girl as if she were dead. Because this person cant be my child.
77
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31 Im sure Franoise will get better at once as soon as she has proper treatment in hospital.
32 ,
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, The Hidden Logic of Absurd Behaviour (
)
. (Miller
2002: 111)
34 All my life, three meals a day, think how much poison there is in me now. Because it doesnt come
out when you go to the toilet. That kind of poison stays in and piles up inside you till all your stomach
and liver and veins and nerves and head are full of poison and then you die.
35 a , ,
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37 Shall I tell you why Im dying? Because someone wants to kill me. I wont say who just now because
sound goes through walls and into peoples minds.
80
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39 Wed eat together without saying anything because there was nothing we wanted to say except the
things we couldnt. I hated you sometimes for being so strong and not asking me so I could shout, No
of course I cant tell you.
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40 Everyone looked at me on the bus, I had to jump off before it stopped. So I stayed in my room and
I looked in the mirror and there was a European looking out, so I broke the mirror, which settled him.
41 Its done to insult me. You are deliberately black to make me look white.
42 And I say that between colonization and civilization there is an infinite distance; that out of all the
colonial expeditions that have been undertaken, out of all the colonial stauses that have been drawn
up, out of all the memoranda that have been dispatched by all the ministries, there could not come a
single human value.
82
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(Carothers, Psychologie normale et pathologique de lAfricain, Etudes Ethno-Psychiatriques, Masson
diteur), (Sutter), 1939.
Sud Mdical et Chirurgiacal
44 You must know the work of Doctor Carruthers of the World Health Organization. He says that
since the African doesnt use his frontal lobes it is just as if they had been removed so that the African
is like a lobotomised European.
83
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46 The explanation is in the structure of the brain. Professor Sutter explains it very clearly. The
Algerian has virtually no cortex.
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47I too talk about abuses, but what I say is that on the old ones very real they have superimposed
others very detestable.
48 Human Resources ( ) 2010.
(Scott Noble)
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50 It is an opportunity to learn more about how successful these drugs are in liberating the patient
from the conflict that prevents him speaking, because a prisoner of course is very higly motivated not
to speak.
51 :
: , .
. : ,
. : ,
, . penthotal.
. ( 1973: 179-180)
52 I get confused when Im tired. I mean the bodies of my wife and children are an entirely different
thing from the jobs I have to do and I dont want to think of the one when Im in the other situation.
87
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.
lvarez, S., , LBJ, Instituto Cubano del arte e industria cinematogrficos

(ICAIC), 1968.
Baraka, A. Revolutionary Theatre. Liberator, July 1965.
<http://nationalhumanitiescenter.org/pds/maai3/protest/text12/barakatheatre.
pdf>. 01.07.2012.
Baldwin, J. An Open Letter to My Sister, Angela Y. Davis. November 1970. http://
www.historyisaweapon.com/defcon1/itcitmbaldwin.html. 30. 07. 2012.
1998: R. Eisler, THE CHALICE AND THE BLADE, Our History, Our Future,
HarperCollins Publishers.
Zeffirelli, F., , Brother Sun, Sister Moon, Euro International Film (EIA),
1972, DVD.
Curtis, A., , The Century of the Self, BBC, 2002, DVD.
King, M. L. Beyond Vietnam A Time to Break Silence. Riverside Church, New York
City, delivered on 4th April 1967.
http://www.americanrhetoric.com/speeches/mlkatimetobreaksilence.htm.. 01. 07.
2012.
Miller, A., For Your Own Good, Farrar, Straus and Giroux, New York, 2002.
http://www.arvindguptatoys.com/arvindgupta/alicemiller.pdf . 01. 07. 2012.
Noble, S., , Human Resources, Metanoia, 2010, DVD.
Pinter, H. Nobel Lecture Art, Truth And Politics. 2005. http://www.nobelprize.org/
nobel_prizes/literature/laureates/2005/pinter-lecture-e.html/. 30. 07. 2012.
Rich, A. Why I Refused the National Medal for the Arts. July, 1997. http://www.
hotink.com/8797.html. 30. 07. 2012.
1973: . P. Sartr, Predgovor u: Prezreni na svijetu, Franc Fanon, Zagreb:
Stvarnost
Fanon, F., Black Skin, White Mask, Pluto Press, London, 2008.
Who was the father or daughter or brother / Or uncle or sister or mother or son / Of
the dead and abandoned body?
53
89
http://melodypanosian.info/wp-content/uploads/2011/05/Frantz-Fanon-Blackskin-White-masks.pdf. 01. 07. 2012.

1973: F. Fanon, Prezreni na svijetu, Zagreb: Stvarnost.
Fromm, E., The Forgotten Language, an introduction to the understanding of
dreams, fairy tales and myths, Holt, Rinehart and Winston, New York, 1951.http://
docbk.com/a/download/the-forgotten-language.pdf. 01. 07. 2012.
1997: M. , , :
.
Csaire, A., Discourse on Colonialism, Monthly Review Press, New York, 2000.
http://www.rlwclarke.net/Theory/SourcesPrimary/CesaireDiscourseonColonialism.
pdf. 01.07.2012.
1990: C. Churchill, The Hospital at the Time of the Revolution, CARYL
CHURCHILL SHORTS, Nick Hern Books: London.
Wallace, N., On Writing as Transgression, St. York University, England, 2007.
http://www.playwrightsfoundation.org/images/previous%20teachers/at_jan08_
transgressionFINAL.pdf. 01. 07. 2012.
Jelena Stojanovi / Writing and / or Revolution: The hospital at the Time of the
Revolution by Caryl Churchill
Summary / This paper analyzes Caryl Churchills play in the light of Riane Eislers
theory of Cultural Transformation, expressed in The Chalice and the Blade: Our
History Our Future and centered on the shift from the partnership model to the
dominator model of society. Churchills play The Hospital at the Time of the Revolution, Fanons The Wretched of the Earth on which it is based, and Aime Cesaires
Discourse on Colonialism, show how colonialism functions as a manifestation of the
dominator model, represented by the blade. In keeping with Naomi Wallaces view
that writing should be a transgression and liberation from ideologica prejudices, and
Harold Pinters view that the search for truth should be the subject of art, this paper
higlights the links that exist between imperialism, colonialism, and Nacism, and exposes the traumas that destructive social organizations continue to inflicts upon man.
Key words: Cultural Transformation, colonialism, blade, hospital, revolution
: 15. 2012.
2012.
90
/ , ,
(Caryl Churchill, 1938),

. .
,
.
.
(1982) (1979) , .
.
.
91

821.111(73)-3.09 .
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Art is both tough and fragile. It speaks of what we long to hear and
what we dread to find. Its course and native impulse, the imagination,
may be shackled in early life, yet may find release in conditions
offering little else to the spirit.() Art is our human birthright, our
most powerful means of access to our own and anothers experience
and imaginative life. In continually rediscovering and recovering the
humanity of human beings, art is crucial to the democratic vision.
Adrienne Rich
!

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1 jelenaandrejic10@gmail.com
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2 Arise, then, women of this day! / Arise, all women who have hearts, / Whether our baptism be of
water or of tears! / Say firmly: / We will not have great questions decided by irrelevant agencies, / Our
husbands will not come to us, reeking with carnage, for caresses and applause. / Our sons shall not be
taken from us to unlearn / All that we have been able to teach them of charity, mercy and patience. [...]
/ Disarm! Disarm! The sword of murder is not the balance of justice!
3 http://www.ala.org/ala/issuesadvocacy/banned/frequentlychallenged/challengedbydecade/index.cfm
99

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1951 ( , 1951), Brighten Up ( ), The
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6 It was a war of reason against barbarism, supposedly, with the issues at stake on such a high plane
that most of our feverish fighters had no idea why they were fighting-other than that the enemy was a
bunch of bastards. A new kind of war, with all destruction, all killing approved.
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7 A few days after the raid the sirens screamed again. The listless and heartsick survivors were
showered this time with leaflets. [...] To the people of Dresden: We were forced to bomb your city
because of the heavy military traffic your railroad facilities have been carrying. We realize we havent
always hit our objectives. Destruction of anything other than military objectives was unintentional,
unavoidable fortunes of war. [...]The leaflet should have said: We hit every blessed church, hospital,
school, museum, theater, your university, the zoo, and every apartment building in town, but we
honestly werent trying hard to do it. Cest la guerre. So sorry. Besides, saturation bombing is all the
rage these days, you know.
8 The occupying Russians, when they discovered that we were Americans, embraced us and
congratulated us on the complete desolation our planes had wrought. We accepted their congratulations
104
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with good grace and proper modesty, but I felt then, as I feel now, that I would given my life to save
Dresden for the Worlds generations to come. That is how everyone should feel about every city on
Earth.
9 I feel and think as much as you do, care about many of the things you care about, although most
people do not care about them. You are not alone.
105
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14 At the end of capitalism, which is eager to outlive its day, there is Hitler. At the end of formal
humanism and philosophic renunciation, there is Hitler.

[...] to the very distinguished, very humanistic, very Christian bourgeois of the twentieth century
that without his being aware of it, he has a Hitler inside him, that Hitler inhabits him, that Hitler is his
demon, that if he rails against him, he is being inconsistent and that, at bottom, what he cannot forgive
Hitler for is not the crime in itself, the crime against man, it is not the humiliation of man as such, it is the
crime against the white man, the humiliation of the white man, and the fact that he applied to Europe
colonialist procedures which until then had been reserved exclusively for the Arabs of Algeria, the
coolies of India, and the niggers of Africa.
16 [...] before they were victims, they were its accomplices; [...] they tolerated that Nacism before
it was inflicted on them, they [...] shut their eyes to it, legitimized it, because, until then, it had been
applied only to non-European peoples [...]
111
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17 By saying that our leaders are power-drunk chimpanzees, am I in danger of wrecking the morale
of our soldiers fighting and dying in the Middle East? [...] Their morale, like so many bodies, is already
shot to pieces. Thy are being treated, as I never was, like toys a rich kid got for Christmas.
18 http://www.gutenberg.org/catalog/world/readfile?fk_files=1523590&pageno=1
112
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2001: 154)
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113
1989: G. Vidal, Armageddon?Essays 1983-1987, London: Grafton Books.

Vidal, G. The Empire Lovers Strike Back. 2009. <http://pulsemedia.org/2009/10/21/
the-empire-lovers-strike-back/>.
2001: . , - , :
-.
Vonnegut, K. A Man Without A Country. February, 2006. <http://activistmagazine.
com/index.php?option=content&task=view&id=489&Itemid=143>. 11. 09. 2012
Vonnegut, K. Kurt Vonnegut Interview Mashup. August, 2008. <http://
artisticactivism.org/2008/08/kurt-vonnegut-interview-mashup/#more-124>.
2009: K. Vonnegut, Armageddon in Retrospect, London: Vintage.
Vonnegut, K. 2BP2B. May, 2007. <http://www.gutenberg.org/catalog/world/
readfile?fk_files=1523590&pageno=1>. 11. 09.2012.
Galeano, E. Mirrors: Stories of Almost Everyone. 2009. <http://www.npr.org/
templates/story/story.php?storyId=112064007>.11. 09. 2012.
Pinter, H. Nobel Lecture Art, Truth And Politics. December, 2005. <http://www.
counterpunch.org/pinter12072005.html>. 11. 09. 2012.
Rich, A. Why I refused the National Medal for the Arts, July, 1997.
<http://www.barclayagency.com/uploads/pdf/richwhy.pdf>.11. 09. 2012.
2000: A. Csaire, Discourse on colonialism, New York : Monthly Review Press.
Sellars, P. The State of Cinema.< http://www.sf360.org/features/peter-sellars-thestate-of-cinema> .11. 09. 2012.
Sellars, P. Cultural Activism in the New Century. ABC TV, August, 1999. <http://
www.abc.net.au/arts/sellars/text.htm>. 11. 09. 2012.
Wallace, N. On Writing as Transgression. American Theatre. January, 2008
<http://www.playwrightsfoundation.org/images/previous%20teachers/at_jan08_
transgressionFINAL.pdf>.11. 09. 2012.
Williams, R. Science Fiction Studies. No 43, Volume 15, part 3, November 1988.
<http://www.depauw.edu/sfs/documents/williams.htm>. 11. 09. 2012

http://www.nytimes.com/2007/04/12/books/12vonnegut.html
http://anarchistnews.org/?q=node/3559
http://en.wikipedia.org/wiki/Gore_Vidal
http://en.wikipedia.org/wiki/Mother%27s_Day_Proclamation
http://www.inthesetimes.com/article/733/cold_turkey/
http://www.antiwar.com/blog/2007/07/26/nucking-futs-or-crazy-like-a-fox/
http://www.enotes.com/perpetual-war-for-perpetual-peace-salem/perpetual-warfor-perpetual-peace
http://www.huffingtonpost.com/2011/03/07/lyric-operas-hercules-pet_n_832363.
html
http://www.ala.org/ala/issuesadvocacy/banned/frequentlychallenged/
challengedbydecade/index.cfm
http://www.dailymail.co.uk/debate/article-1209041/Operation-unthinkable-HowChurchill-wanted-recruit-defeated-Nazi-troops-drive-Russia-Eastern-Europe.html
http://women.timesonline.co.uk/tol/life_and_style/women/the_way_we_live/
article6854221.ece
http://www.pedagogyoftheoppressed.com/about/
http://www.goodreads.com/author/quotes/41108.Paulo_Freire
114
/ , ,
Jelena Andreji / Armageddon: contemplations on the end of history by Kurt Vonnegut and Gore Vidal
Summary / In the paper we will compare the attitudes to history and politics of two
important American writers, Kurt Vonnegut and Gore Vidal. Both have written about
Armageddon, the end of the world brought about by the kind of historical paradigmes
mankind contiues to pursue. As engaged writers Vonnegut and Vidal insist on the
important role Art can play in changing these destructive ways of seeing. Art can
challenge the normalized horrors of history by showing to the world the truth about
institutionalized injustice and misuse of man, built for centuries into all human
relationships and contacts. Literature is useful because it encourages thinking
outside the boundaries and frames imposed on the mind by political preasure and
other strategies of thought control. Vonnegut and Vidal see writing as a quest for
social justice identified by Peter Sellars as the central concern of all great art, from
Sophocles and Shakespeare to modern modes of artistic engagement and activism.
In their works Kurt Vonnegut and Gore Vidal demonstrate how it is possible to talk
about justice, truth, mutual understanding and acceptance, and use Art not to divide
human beings into black and white, modern and traditional, bad and good, but to
point to the difference between the just and the unjust, the servants of Truth, and the
generators and manipulators of the Lie. The truth they reveal about history is cruel
but necessary, because in the world outside of art there is almost no place left for it.
Key words: Art, literature, Truth, justice, Armageddon
: 27. 2012.
2012.
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, 1976), On Lies, Secrets and Silence: Selected
Prose 1966-1978 ( , : 19661978, 1979), Blood, Bread and Poetry: Selected Prose 1979-1985 (,
: 1979-1985, 1986), What is Found There: Notebooks
on Poetry and Politics ( : ,
1993), Arts of the Possible: Essays and Conversations( :
, 2002), Poetry and Commitment ( ,
2007), Human Eye: Essays on Art in Society 1997-2008 ( :
1997-2008, 2009).
On Lies, Secrets and Silence , ,
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, . (N. Tesich 1995)
2008: Z. Jeremi, Stojan Stiv Tei: ivot i tri drame, Beograd: Academica
Akademska grupa.
Radoni, Maja, Intervju s piscem, Nadjom Tesich. 2006,
http://www.srpska-mreza.com/authors/Tesich/intervju-2006.htm. 12. 09. 2012.
Rich, Adrianne. When We Dead Awaken: Writing as Re-Vision. 1971,
http://www.nbu.bg/webs/amb/american/5/rich/writing.htm . 12. 09. 2012.
Rich, Adrianne. Why I Refused the National Medal for the Arts. 1997,
http://www.barclayagency.com/uploads/pdf/richwhy.pdf. 12. 09. 2012.
Sellars, Peter. Cultural Activism in the New Century. August, 1999,
http://www.abc.net.au/arts/sellars/text.htm. 12.09.2012.
Sellars, Peter. State of Cinema Address. 2007.
http://www.sffs.org/content.aspx?catid=12,61&pageid=835. 12.09.2012.
Tesich, Steve. Steves articles about the civil wars in Yugoslavia. 1995,
http://www.srpska-mreza.com/tesich/steve.htm
Tesich, Nadja. Remembering My Brother, Another Victim of US Deadly Disorder.
1995
http://www.srpska-mreza.com/authors/Tesich/intro-steve.htm
Tesich 2010: N.Tesich, To Die in Chicago, New York: iUniverse, Inc.
Shamieh, Betty, The Arth of Countering Despair: Naomi Wallace, 2008, May, http://
brooklynrail.org/2008/05/theater/the-art-of-countering-despair-naomi-wallace
Wallace, Naomi. On Writing as Transgression. St. York University, England, October,
2007. <http://www.playwrightsfoundation.org/images/previous%20teachers/at_
jan08_transgressionFINAL.pdf> 12. 09. 2012.
Waldman, Kate, Adrienne Rich on Tonight no Poetry Will Serve, March, 2011, http://
www.theparisreview.org/blog/2011/03/02/adrienne-rich-on-%E2%80%98tonightno-poetry-will-serve%E2%80%99/
Milutinovi / When we dead awaken: Art and activism in the works of Nadja
Tesich and Adrienne Rich
Summary: In this paper we will try to show how deculturalization, exploitation,
globalization and the loss of faith in democracy mobilised Nadja Tesich and Adrienne
Rich to become engaged writers. Their art and activizam are concerted efforts to
awaken the dead and arrouse the sleeping conscience of America. Special attention will be paid to the refusal of the engaged works by the above mentioned writers
to exist in the hallucinating hologram of the trivial post-truth world of nigerization
and denigerization, wimps and the mediocre. In such a world their art is a voice of
hunger, of desire, of dissatisfaction. In the midst of historical and ideologica perversions it celebrates the creative, healing power of the human imagination and of art.
ey words: awakening, self, entropy, literature, truth
: 12. 2012.
2012.
135
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, 1966), Will to Change ( , 1971), The
Dream of a Common Language ( , 1978), Your
Native Land, Your Life( , , 1986), Dark Fields
of the Republic: Poems 1991-1995( : 1991-1995,
1995), Midnight Salvage: Poems 1995-1998( : 19951998,1999), The School Among the Ruins: Poems 2000-2004(
: 2000-2004, 2006), .
- : Of Woman Born: Motherhood As
137
Experience and Institution ( :

, 1976), On Lies, Secrets and Silence: Selected Prose 1966-1978
( , : 1966-1978, 1979), Blood,
Bread and Poetry: Selected Prose 1979-1985 (, : 1979-1985, 1986), What is Found There: Notebooks on Poetry and
Politics ( : , 1993), Arts of
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Eye: Essays on Art in Society 1997-2008 ( :
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anymore because man has been diminished. The artist today is a clown, an entertainer. I fight against
this image, and I would rather die than become the same. Art is the only religion for me, because at
least while I write I can believe in truth. This is a hard time. It is when neither Tolstoy nor Dostoevsky
are read. All the conditions exist, except the most important ones, for man to become a human being,
However, man has turned into something else. ( .)
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9 They are seriously moved by what they see in the exhibit. They are telling each other how Beautiful
it all is, this exhibit of human suffering [] Not that far from the museum, twenty blocks or so uptown
where I lived, there was the same kind of exhibit. Same kind of suffering. Only it wasnt beautiful
there. And there were no couples in chic, lightweight summer clothes to be moved by it all. What was
fucking scum-of-the-earth outside the museum was a fucking masterpiece inside. (
).
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Radoje V. oki / F. M. Dostoevsky, Simone Weil and Steve Tesich: On modern

mans spiritual void and ways toward curing moral plight of contemporary humanity
Summary / The present paper strives to analyse the works and ideas of three authors
F. M. Dostoevsky (Legend of the Grand Inquisitor), Simone Weil (The Need for Roots),
and Stojan Steve Tesich (On the open road) in the light of their struggle for reviving
mans primordial forms of conscience and consciousness which will help humanity
regain ability to resist religious and ethical mutations of the present era. These authors
believe that the official religious institutions of Christian church, having cast away
Christs gospel of brotherly love, have sided with Him, (as voiced and testified by
Dostoevskys Grand Inquisitor) the Satan himself, who tempted Christ in the desert
by offering him rule over kingdom of earth in exchange for Christs submission.
Scientific humanism coupled with Christianitys betrayal of eternal values posited
by Christ has stripped man naked of the religious context which gave his life meaning, leaving him/her free falling in the abyss of nihilism. Weil suggests, which is one
of her major ideas in The need for Roots, that the cure to the moral plight of modern
European humanity resides in its ability to bring back the spirit of truth, love and
grace into modern Christianity, which is in its present state devoid of these evangelical
virtues. Weil and Dostoevskys ideas are shared by Steve Tesich, a Serbian-American
screenwriter, playwright and novelist, whose play On the open road is based on Dostoevskys Legend of the Grand Inquisitor.
Key words: dehumanization, ethics, truth, love, art
: 16. 2012.
2012.
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Politics of Language in African Literature, 1987) --, . (Gilbert 2010) ,
. :
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Modernes.
. LHomme .
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, . 2007. 1871-1883,
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From Cave to Yirrkala.
35 000 .

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Walg.
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,
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I-III29, ,
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2009: J. Borjev, Estetika, Novi Sad: Prometej
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http://www.novosti.rs/vesti/kultura.71.html:296757-Aboridzini-u-Valjevu, 15. 07.
2012.
Jelena N. Arsenijevi Mitri / Literature and activism in the works of B. Wongar
and J. M. G. Le Clzio
Summary / This paper will analyze the works of B. Wongar and J. M. G. Le Clzio with
an attempt to present and critically examine the reasons which led them to engage in
(post)colonial subjects and emphasize the similarities in the assessment of the (post)
colonial society and culture of domination about which Wongar and Le Clzio write
in their literary texts. Their works to a large extent present a severe critique of the
modern world. These authors try to indicate how western culture, under the guise of
globalization and multiculturalism, continues to develop the practice established
in the age of the great imperial conquest. The article also discusses what encouraged
these authors to the voluntary exile from civilization and cultural matrix of the West
and turning them to other cultures. The paper points out the complementarity of
their literary texts, particularly in the selection of topics, and also examines the possible parallels, considering the fact that they belong to the synchronous moment,
although acting independently of one another. A comparative analysis of their work
includes a reference to the corpus of texts of postcolonial literary criticism. This, of
course, includes a wider anthropological view, because this kind of literature involves
more extensive cultural perception. In the case of these authors, literature isnt just
descriptive and artistic mode, but type of activism, which is to defend the achievements of primary cultures of ancient heritage of knowledge, and that just disappear,
or indirectly by technocratic societies, which date from the first colonization to the
present day.
Key words: B. Wongar, Le Clzio, literature, anthropology, heritage, myth, art, activism, culture of domination, (post)colonialism
: 30. 2012.
2012.
209

,
, ; , 1966, ()
. (B. Wongar, 1932), () ,

. , .
, 1958.
210
/ , ,
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,
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. , 1960.
.
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(1983), (1985),
(1988) (1994).
,
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(1978), (1982), (1991) (1992).
, : ,
, -. (1999).
(1984). . , 2006.
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:
(1982), - (1986), (1997),

. ,
2009.
, , ,
. ,
, .
211
. . . (J. M. G. Le Clzio, 1940), ,

, a
, .
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, ,
. ,
XVIII .
.
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, ,
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, , , , Terra amata, ,
, , , , . , 2008. ,
. 2010.
,
.
212
/ , ,

821.111-4.09 . .
1
- ,
. .
, ,
,
.
, (
inute Particulars),
.
,
,
,
. -
.
: , , ,
And the voices of the Living Creatures were heard in the clouds of heaven,
Crying: Compell the Reasoner to Demonstrate within hewn Demonstrations.
Let the Indefinite be explored, and let every Man be Judged
By his own Works, Let all Indefinites be thrown into Demonstrations,
To be pounded to dust & melted in the Furnaces of Affliction,
He who would do good to another must do it in Minute Particulars:
General Good is the plea of the scoundrel, hypocrite & flatterer,
For Art & Science cannot exist but in minutely organized Particulars
And not in generalizing Demonstrations of the Rational Power.
The Infinite alone resides in definite & Determinate identity;
Establishment of Truth depends on destruction of Falsehood continually,
On Circumcision, not on Virginity, O Reasoners of Albion!2
(W. Blake, A Jerusalem : Keynes 1971: 687)
1 ibancevic@yahoo.com
2 , / :
. /
/ , , /
, /
: / , , /
/
. /
; / , /
, , ! ( , )
(, , .)
213
The Poverty of Theory: or an Orrery of Errors ( : , 1978)

,
.
,
. ,
, , ,
, , , .
Witness against the Beast: William Blake
and the Moral Law ( : , 1993), . .

,
, ,
.

, ,
,
.
,
,
, , , ...,
.
( )

, ,
,
(. Quinn1994).
The Reasoner, New Reasoner,

, ,

, , . Old Africa Rediscovered (
, 1959)
:
214
/ , ,
(
New Reasoner) :
,
,
.3 (Palmer 2002)
, ,
. Commitment
in Poetry ( ), Making History:
Writings on History and Culture ( :
), 1994. ,
, ,
, ,
:

, . ,
: , 1790-,
.
, ,
, , ,
. ,
,
.4 (Thompson 1994: 339)
,
, . , , ,
Warwick University Limited (1970).
, ,
3 A closer probing of the content of The New Reasoner reveals four related themes: internationalism,
social science in the service of social transformation, the creativity of culture, and the need for
organization.
4 Perhaps all this work of disclosing and defining the values on which our commitments are based
is being done in poetry already and I have failed to keep up. Or perhaps it is being done and we
havent yet heard: who, in the 1790s, knew of William Blake? All that I am arguing is that our sense
of political reality, in any generous historical sense, has become lost within faded rhetoric and
threatening abstractions, and that poetry, most of all, is what we now need. And this must be poetry
more ambitious, more confident of its historical rights among other intellectual disciplines, than any
that is commonly presented to us today.
215
, .

,
(. Dworkin 1997: 210).
:
[...] ;

, ,

.5
(Calhoun 2012: 1)
.
,
, ,
:
[...]
, ,
,
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, , .

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,
, .
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,
,
.

, ,
5 [...] he was a powerful critical voice for four decades; he helped to maintain the immensely
intellectually productive and sometimes politically important borderland between academic scholarship
and public activismand always, I think, regretted the way this borderland had been attenuated by the
increasing capacity of universities to absorb and domesticate intellectual discourse.
216
/ , ,

.6 (Palmer 2002)
( , ) The
Peculiarities of English ( ),
Minute Particulars (. Thompson 1978: 275).
, ,
: ,
, :
,

-
.
, ,
,
, ,
. ,

[Witness against the Beast, . 90],
,
.
, ,
. , ,
,
6 [...] Thompsons Socialist Humanism essay articulated a new sense of class, in which it was never
reducible to an economism, but expanded into a presence that was simultaneously economic, social,
political, cultural, and moral. Socialist humanism sought, in Thompsons words, to make men whole.
In this its cues were taken as resistance to both Stalinist and capitalist reductionism. By liberating
men and women from a slavery to things, to the pursuit of profit, accumulation, and consumption, or
obeisance to necessity, humanity would create, not only new values, but things in abundance. They
would, in short, build and be built. With the threat of total destruction hovering over man, in the form of
a Thing to end all things, the Hydrogen Bomb, Thompson reasserted Luxemburgs earlier catastrophic
prophecy, socialism or barbarism, total destruction or human mastery over human history. Only if
men by their own human agency can master this thing will Marxs optimism be confirmed, Thompson
concluded, and human progress cease to resemble that hideous pagan idol who would not drink the
nectar but from the skulls of the slain. [Thompson, Socialist Humanism, 105143, block quotation
at 122, other quotations from throughout. The above draws on an assessment of this article that first
appeared in Bryan D. Palmer,The Making of E.P. Thompson: Marxism, Humanism, and History(Toronto
1981), 4850. It should be supplemented with the usefully critical, and fuller, discussions in Kenny,The
First New Left, 6985; and Perry Anderson,Arguments Within English Marxism(London 1980).]
217
, ,
.7
(Calhoun 2012: 15)
off-stream
, .
Witness Against the Beast: William Blake
and the Moral Law,
, .
, , , , , (. Thompson 1993: 14). , ,
,
, , , , , , (15).
, ,
devourrs the prolific:

; ,

, .
,
, , ,
. ,
, .8 (18)
,
,
7 If Gramsci was the great theorist of hegemony, then Thompson is perhaps the most persuasive
explorer of the concrete ways in which anti-hegemonic thinking developed and sometimes took root
in popular political culture. Part of the secret of the discipline of historical context is that it keeps
open the possibility of an anti-hegemonic stance, of uncovering the ways in which those who, like
the Muggletonians, were not among historys winners, nonetheless struggled against its apparent
course and often not without effect. Like the Muggletonians, who did not wish to be among historys
winners so much as to preserve and hand down the divine vision [Witness against the Beast., p. 90.] the
historians business is not to ratify the outcome of the battles but to recover the field-of-force and
the competing visions that shaped them. This may sometimes mean preserving for posterity better
moral visions than those of the victors. It always means addressing human beings in their concrete and
specific contexts--their cultures, their relations of power and exploitation, inclusion and exclusion,
solidarity and separationnot simply the abstractions of human nature.
8 This is not only a war of the Imagination against the artifice and fashion of the polite culture; it is
also a war of faith against a class of destroyers, and of the patronised practitioners of the creative arts
against the hirelings of camp, court and university who are their patrons. This conscious posture of
hostility to the polite culture, this radical stance, is not some quaint but inessential extra, added on to
his tradition. It is his tradition, it defines his stance, it directs and colours his judgement.
218
/ , ,
, ,
, (Webb 2010),
, , .
,
. , , Making History, Writings
on History and Culture .
( ) .
,
, , ,

(. Thompson 1994: 333). , ,
a ,

, (
)
.
(333). ,

:
[...]

(, , , ):
,
,
,
.
.
.9 (335)
,
,
(337). , ,
, 9 [] then the very notion of politics as the disclosure and choice of values becomes suspect and
repugnant (romanticism, utopianism, humanism, moralism): at the most, value formation
becomes a subordinate and determined exercise, the appropriate sour spoonful of de-mystification of
moralistic ideology, the appropriate cough in confirmation of what science has disclosed. No poetry
with any dignity would leave its personal corner to enter the service of that philistinism. And no poets
have.
219
, ,
, , , :

.
, .

,
, ,

.10 (Thompson 1977: 18)
Education and Experience ( )
The Romantics, England in a Revolutionary
Age (, , 1997), , ,
, .

, ,
, , , : , :

, :

.11 (Thompson 1997: 4)
(22, 23), ,
, , 1911.
. , ,
, ,
10 The terrible prophetic vision of William Blake was becoming realized. All values were becoming ()
tainted with the property values of the market, all life being bought and sold. The great aspirations
at the source of Romantic Revolt for the freeing of mankind from a corrupt oppression, for the
liberation of mans senses, affections, and reason, for equality between men and between sexes were
being destroyed by each new advance of industrial capitalism.
11 All education which is worth the name involves the relationship of mutuality, a dialectic: and no
worthwhile educationalist conceives of his material as a class of inert tutor is likely to last out a session
and no class is likely to stay the course with him if he is under misapprehension that the role of
the class is passive.
220
/ , ,
, ,
[] (31, 4)
Wordsworths crisis, ,
a, . ,

, ,
(. 90-93).
,
. (1993: 14, 15)
XVIII
, ,
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:
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,

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;
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,
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, a ,
, : ,
,
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,
.12 (229)

In one sense, this Tree was taken to stand for Knowledge, and in the subsequent Muggletonian
tradition could either encourage mere obscurantism, or could support a defence of the imagination
and the affections against the reason of the polite culture of a rulling class. [] (222) The signatures
221
, .
,
. The
Scholars (),
.

, ( ),
.
,
,
. Art ()
:
.
.

?13
(Thompson 1994: 340)
,
, ,
-. ( ) , , , , ,

,
, .
, ,

( , , ,

), of this consistency are to be found in a stance rejecting the polite culture; in such evidences as the
symbolism of the Tree, which may fluctuate through Reason to the Moral Law to Mystery to Education
to Money to Science[] (224-225) His vision had been not into the rational government of man but
into the liberation of an unrealized potential, an alternative nature, within man: a nature masked
by circumstance, repressed by the Moral Law, concealed by Mystery and self defeated by the other
nature of self - love. It was the intensity of this vision, which derived from sources fasr older than the
Enlightment, which made it impossible for Blake to fall into the course of apostasy.
13 The dragons and the lions are furious. / They would like to eat us. / If we model their rage in clay
/ Will we drive terror away?
222
/ , ,
, .
, .
Blake 1971: W. Blake, Complete Writings with variant readings, Geoffrey

Keynes, London: Oxford University Press
Dworkin 1997: D. Dworkin, Cultural Marxism in Postwar Britain: History, the New
Left, and the Origins of Cultural Studies (Post-Contemporary Interventions), Durham:
Duke University Press Books.
Calhoun, C. E. P. Thompson and the Discipline of Historical Context. <http://www.
nyu.edu/ipk/calhoun/files/calhounEPThompsonAndTheDisciplineOfHistoricalCon
text.pdf>. 28.08.2012.
Palmer, B. D. Reasoning Rebellion: E.P. Thompson, British Marxist Historians, and
the Making of Dissident Political Mobilization, Labour / Le Travail, 2002. <http://
www.historycooperative.org/journals/llt/50/palmer.html>. 28.08.2012.
Thompson 1970: E. P. Thompson, Warwick University Limited, New York: Penguin
Education Specials.
Thompson 1977: E. P. Thompson, William Morris, Romantic to Revolutionary, New
York: Pantheon books.
Thompson 1978: E. P. Thompson, The Poverty of Theory and other essays, London:
Merlin Press
Thompson 1993: E. P. Thompson, Witness against the Beast: William Blake and the
Moral Law, New York: The New Press
Thompson 1994: E. P. Thompson, Making History: Writings on History and Culture,
New York: The New Press
Thompson 1997: E. P. Thompson, The Romantics, England in a Revolutionary Age,
New York: The New Press
Quinn, J.Witness Against the Beast: William Blake and the Moral Law. 1994. <http://
findarticles.com/p/articles/mi_m1132/is_n4_v46/ai_15823658/>. 01.08.2010.
Webb, B. Making History: An Interview With E.P. Thompson. <http://www.
blackrosebooks.net/og231.htm>. 01.08.2010.
223
Ivana Banevi Pejovi / Alternative intellectual tradition of E. P. Thompson

Summary / This essay presents the work of Edward Palmer Thompson, British historian whose involvement with history is inseparable from his study of literature (of
romantic poets above all) which records fragmented personal stories of the oppressed
(Blake would say minute Particulars) that official history of the winners ignores,
silences and excludes from active participation in the challenges we face today. At
the moment when the so called New World Order is trying to impose itself as an option without alternatives, Thompsons deep involvement with the history of ideas is
hugely important. His concern with traditions that are alternative to the dominant
discourse of the world order currently in power, keeps these traditions alive and
makes it possible for them to re-enter the battle of ideas that will shape the twentyfirst century. That is the reason why his studies of history and culture deserves to be
presented to our public, and better known.
Key words: activism, alternative intellectual tradition, history of ideas, romanticism
: 5. 2012.
2012.
. . ( , )
,
, 1947, ()
224
/ , ,
(Edward Palmer Tompson, 1924

1993), , XVIII XIX , The Making of the English Working Class
(1963). , (1955),
(1993).
, Warwick
University Limited (1970). The Sykaos Papers.
. XX
, , .
225
APPENDIX
821.133.1(729.81)-14

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230
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231

: 12. 2001.1
821.111(73)-14
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XIII / 49/2 / 2012.

aslav Nikoli, Assisstant Professor

Vladimir Polomac, Assisstant Professor

Nikola Bubanja, Assisstant Professor

Jelena Arsenijevi, Assisstant

prof. Persida Lazarevi di Giakomo, PhD

Jelenka Pandurevi, Assisstant Professor

Svetlana Kalezi, Assisstant Professor

Ivan Maji, Assisstant Professor, PhD

Ostap Slavinski, Assisstant Professor

Borjan Janev, Assisstant Professor

Ljiljana Bogoeva Sedlar

LITERATURE AND ACTIVISM INTRODUCTORY NOTE

WHEN WE DEAD AWAKEN:

LITERATURE AND ACTIVISM INTRODUCTORY

Lipar / Journal of Literature, Language, Art and Culture

Lipar / Journal of Literature, Language, Art and Culture

Lipar / Journal of Literature, Language, Art and Culture

. / , Instant-mix imperial democracy (

, Myth as stolen language

the doors of perception)

1972: R. Barthes, Mythologies, New York: Farrar, Straus and Giroux.

F 1964: N. Frye, The Educated Imagination, Bloomington: Indiana University

Lipar / Journal of Literature, Language, Art and Culture

30 (Arundhati Roy, 1961),

Lipar / Journal of Literature, Language, Art and Culture

Lipar / Journal of Literature, Language, Art and Culture

20 To touch is to claim as property.

, The Algebra of Infinite

1972: J. Berger, G., Harmondsworth: Penguin Books ltd.

(John Berger, 1926), , , , .

Lipar / Journal of Literature, Language, Art and Culture

lvarez, S., , LBJ, Instituto Cubano del arte e industria cinematogrficos

Lipar / Journal of Literature, Language, Art and Culture

http://melodypanosian.info/wp-content/uploads/2011/05/Frantz-Fanon-Blackskin-White-masks.pdf. 01. 07. 2012.

(Caryl Churchill, 1938),

Lipar / Journal of Literature, Language, Art and Culture

Lipar / Journal of Literature, Language, Art and Culture

Lipar / Journal of Literature, Language, Art and Culture

1989: G. Vidal, Armageddon?Essays 1983-1987, London: Grafton Books.

Lipar / Journal of Literature, Language, Art and Culture

(Kurt Vonnegut, 19222007), , , , .

(Gore Vidal, 19252012 ), , . ,

Lipar / Journal of Literature, Language, Art and Culture

WHEN WE DEAD AWAKEN2:

(Nadja Tesich, 1941), , , ,

(Adrienne Cecile Rich, 19292012), ,

Experience and Institution ( :

Lipar / Journal of Literature, Language, Art and Culture

Lipar / Journal of Literature, Language, Art and Culture

2009: Z. Bauman, Fluidna ljubav,

Radoje V. oki / F. M. Dostoevsky, Simone Weil and Steve Tesich: On modern

(Simone Weil, 19091943), , ,

(Stojan Stiv Tesich, 19421996), ,

Lipar / Journal of Literature, Language, Art and Culture

1988: Aristotel, Politika, Zagreb: Globus.

http://www.youtube.com/watch?v=LTbWNZJkw4w, 20. 09. 2012.

Lipar / Journal of Literature, Language, Art and Culture

. (B. Wongar, 1932), () ,

Lipar / Journal of Literature, Language, Art and Culture

. . . (J. M. G. Le Clzio, 1940), ,

The Poverty of Theory: or an Orrery of Errors ( : , 1978)

Blake 1971: W. Blake, Complete Writings with variant readings, Geoffrey