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The main goal of this paper is to provide an analysis of vampirism in the themes, narrative, and characters of NBC’s Hannibal. However, the paper focuses mostly on the vampiric traits of the main antagonist of the series, Hannibal Lecter. The paper discusses Hannibal Lecter’s portrayal and equates his appearance, heritage, and personality with that of the gothic vampire villain. Furthermore, transgression is argued to be one of the most critical aspects of not only the gothic vampire villain, but also of the gothic genre and is explored in the series through themes of transformation, sexuality, and religion. Since dreams are a recurrent phenomenon in the series, the paper explains dreams as a kind of colonization of the body, similar to that of Dracula. Consequently, because of the mentioned analyses, the paper suggests NBC’s Hannibal to be a contemporary work of vampire fiction. Glavni cilj ovoga rada je analizirati vampirizam u tematici, radnji i likovima NBC-ovog Hannibala. Međutim, rad je najvište usredotočen na vampirske osobine glavnog antagonista serije, Hannibala Lectera. Rad analizira prikaz Hannibala Lectera i poistovjećuje njegov izgled, podrijetlo i osobnost s gotičkim vampir antagonistom. Nadalje, transgresija je objašnjena kao jedan od ključnih aspekata ne samo gotičkog vampir antagonista, nego i čitavog gotičkog žanra te je u seriji prikazana kroz tematiku preobrazbe, seksualnosti i religije. S obzirom da su snovi učestali fenomen u seriji, rad ih objašnjava kao vrstu kolonizacije tijela, nalik Drakulinoj. Zbog spomenutih analiza, rad sugerira da je NBC-ov Hannibal suvremeno djelo vampirske fikcije.

Analiza se književnih djela Janka Polića Kamova po pravilu svodi na analizu šokantnih motiva i dekadenciju njegovih književnih likova, reproducirajući tako kritičke sudove koje su iznijeli njegovi prvi kritičari. U ovome ćemo radu motiviranost i karakterizaciju Kamovljevih pripovjedača, odnosno novelu kao cjelinu promotriti iz specifične perspektive, imajući na umu Bataillevu teoriju o erotici i transgresiji, psihoanalitičku naratologiju i Barthesovu teoriju o užitku i nasladi u tekstu. Nastojit ćemo dokazati kako transgresija i erotika kakvom ju opisuje Bataille, korespondira s pripovjedačevim poimanjem erotike te da on stoga, kao pripovjedač, podliježe pravilnostima koji su opisani u spomenutom teorijskom okviru. Naratološka će analiza Slobode dakle pokazati dinamiku među do sada ne identificiranim dijegetičkim razinama, razloge eliptičnih epizoda i uzroke ovakve segmentacije teksta. Stavljajući naglasak na pripovjedača i na njegovo pripovijedanje, pokazat ćemo kako Kamovljeva avangardnost ne leži prvenstveno u njegovoj poetici pljuvanja, već u vrlo svjesno koncipiranoj, ali itekako inovativnoj strukturi. Readings of the work of Janko Polić Kamov are usually limited to the analysis of elements of decadence of his characters, usually repeating the claims of his earliest critics. In this paper, we will explore the drives and characterizations of Kamov’s narrators, having in mind the specific theoretical framework of Bataille’s theory of eroticism and transgression, psychoanalytic narratology, and Barthes’ concept of pleause and bliss of the text. We argue that the concept of transgression and eroticism seen in Bataille, corresponds to those of the narrator of Sloboda, and as such he is affected of its consequences. The narrative analysis presented in this paper will inspect the narrative levels and the causes of the elliptic episodes in Sloboda. Underlining the aspects of the narration and the narrator, we argue that Kamov’s affiliation with the avant-garde is more prominently seen in his way of structuring the narrative, rather than his commonly emphasized naturalistic and debauched poetics.

Autorstvo, biografija, autobiografija, enciklopedija, komemoracija, muzej i akademija u izdanjima i izvedbama Željka Zorice i dr. Hansa Christiana Za- bludovskog funkcioniraju kao referentna mjesta institucija književnosti i kulture koja ovaj dvojac upotrebljava i kritički preosmišljava upućujući na društvene prijepore i transgresivne mogućnosti izvedbenih praksi. Njihova suradnja na izdanjima knjiga i javnim izvedbama u članku se tumači kao dio neoavangardnih transgresija: otklona, eksperimenta, prekida i iskoraka u javnom prostoru. Persi- fliranjem znanstvenog diskursa i institucionalnog okvira, koristeći pri tom auto/ biografske elemente dr. Zabludovskog, referentni diskurs i službenu formu javno ovjerenih ceremonija u svojim istupima oni dovode u pitanje žanrove i politike »proizvodnje istine« te istovremeno otkrivaju kreativni potencijal i transgresivne učinke neoavangardne umjetnosti.

Rad istražuje ekonomije reprezentacije ženskog identiteta u drami Groznica Ivana Vidića. Analizom strategija prikazivanja triju transgresivnih ženskih likova u dramskom tekstu problematiziramo tvorbu njihova roda koja nužno otvara probleme izmišljanja, nepredvidljivosti i fluidnosti konstrukcije. Likovi, svaki na svoj način, prekoračuju normativne granice te fluidnošću i brzom izmjenom uloga reprezentiraju vlastitu individualnost, nužno nestalnu, odnosno tek privremeno stabiliziranu. Polazeći od pretpostavke Tereze de Lauretis da je prikaz žene moguć u prostoru između heteronormativnih hegemonijskih predodžbi, ilustriramo tezu da Groznica dekonstrukcijom jedanaest proturječnih reprezentacija subjektnih položaja žene konstruira nepredstavljivost njezina identiteta.

U radu će se analizirati način na koji Akakije Akakijevič kao glavni lik u Gogoljevoj Kabanici doživljava transgresiju vlastitog identiteta u romanu, odnosno, kako je tvorba identiteta reprezentirana. Oslonac će biti na teorije identiteta te njezine povezanosti s teorijom pripovijedanja. Pisat će se o tome što je zapravo identitet i kako se definira da bi se prepoznala i razumjela promjena u identitetu lika Akakija Akakijeviča, te će se raspravljati o povezanosti tvorbe identiteta sa samim imenovanjem lika. Kroz primjere bit će prikazano kako se, i zašto, Akakijev identitet mijenja. Također, prije same rasprave o identitetu objasnit će se što je naratologija i njezina važnost u svakom proučavanju i tumačenju pripovjednih tekstova; analizirat će se neka naratološka obilježja, među kojima vrijeme, lik, pripovijedanje, koja su važna za temu ovoga rada.

Straipsnyje remiantis literatūros kritikos, kritinės teorijos ir genealogijos metodais aptariami rezistenciniai jausmai ir veiksmai pelkių kultūroje. Analizuojami kultūros reiškinių išstūmimo ir pasipriešinimo veiksmai, transgresija ir pripažinimas, kuo skiriasi rezistencija pogrindžio ir pelkės salos atveju. Pelkės salos tema siejama su kūlgrindos ar alkos (šventvietės) fenomenais. Pirmoje dalyje nagrinėjamas pelkės vaizdavimas Juozo Tumo-Vaižganto, Kazio Borutos, Juozo Baltušio, Petro Dirgėlos, Jolitos Skablauskaitės, Romo Treinio ir Stasio Jonausko kūryboje. Tyrimas parodė pelkės laisvėjimo, jos sakralumo ir rezistencijos atvėrimą lietuvių literatūroje; išsivadavimą nuo hegemonijų, ėjimą kartu su velnio ar Niekio vardais, su mitais; sąsajas su fiziniais ir psichologiniais raisto, liūno, akivaro reiškiniais, atveriant ir įgalinant draudžiamas emocijas, išlaisvinant „žiežules“ (raida nuo aklo jausmo iki liūnsargės ir, pagaliau, žiežulės). Antra dalis skirta lyginamajai pedagoginių metaforų analizei: Homero nimfų grotas, Platono ola, dykumos oazė (Zerzura), pelkės sala. Kiekviena kitokia metafora apibrėžia skirtingą žmogaus lavinimo būdą. Pelkės sala mus moko šventumo rezistencijos, net jei tai prieštarauja hegemoninei Apšvietai ar dominuojančiai Bažnyčiai. Paskutinė dalis skirta gyvenimo tako kaip egzistencinės paradigmos analizei, gretinant ir priešinant miško takelių (Heideggerio Holzwage), klaidžiojimo dykumoje ir kūlgrindos reiškinius, parodant, kad klajonės ir naujo atvėrimo motyvai nepaaiškina kūlgrindos, kuri reprezentuoja slaptą griežtumą, rezistencinę discipliną ir praktiką. The article uses methods of literary criticism, critical theory, and genealogy to discuss feelings and actions of resistance in a culture of swamps. It analyzes actions of ejecting and resisting cultural phenomena, transgression, and recognition, and how underground resistance differs from that carried out on a swamp island. The topic of swamp islands is tied to the phenomena of underwater stone roads and that of a holy site. The first part reviews depictions of a swamp by Juozas Tumas-Vaižgantas, Kazys Boruta, Juozas Baltušis, Petras Dirgėla, Jolita Skablauskaitė, Romas Treinys, and Stasys Jonauskas. This review shows how the swamp‘s freedom increased and how its sacredness and resistance opened up in Lithuanian literature; how it liberated itself from hegemonies, how it made common cause with the devil and Nothingness, and with myths; and how it is tied to the physical and psychological phenomena of bogs, mires, sloughs opening the way for and enabling forbidden emotions and freeing the witches (in an evolution from blind feeling to a rush and finally witch). The second part is a comparative analysis of pedagogical metaphors: Homer‘s nymph grotto, Plato‘s cave, desert oasis (Zerzura), and swamp island. Each separate metaphor defines a different way of educating a human being. A swamp island teaches us the sanctity of resistance, even though this is incompatible with the hegemonic Enlightenment or the dominant Church. The last part is devoted to an analysis of life’s path as an existential paradigm by comparing and opposing Heidegger’s forest paths (Holzwege), roaming about in the desert, and walking on underwater stone roads. The analysis shows that the motifs of rambling about and opening up do not explain underwater stone roads, which represent a hidden severity and the discipline and practice of resistance.

Straipsnis skirtas lietuvių folkloristikoje mažai tirtam periferiniam talalinės žanrui aptarti. Apžvelgiama jo rinkimo bei spausdinimo, taip pat tyrimo istorija XIX a. antrosios pusės–XX a. laikotarpiu, dėmesį labiau koncentruojant į prieškarį. Pagrindine pateikto tyrimo problema šalia kitų aktualių talalinių procesui akcentų pasirinktos jo komunikacinės intencijos, turint galvoje žanro populiarumą, nepaisant to, jog pusė tiriamos medžiagos yra obsceniško turinio ir necenzūrinės raiškos. Prieinama prie išvados, jog transgresija – peržengimas draudžiamos ribos, už kurios smagiai ir tarpo komiška nešvankioji kūryba, gali palankiai veikti, netgi telkti sociumą, iš anksto susitaikiusį su tam tikrais kompromisais. Analizės akiratyje ir lietuvių talalinei tradiciškai artima laikoma to paties laikotarpio rusų kupletų formos liaudies poezija (rus. чаcтушки) ir labai platus jai skirtas mokslinis diskursas. Talalinės tekstai ir kontekstai interpretuoti nuolat siekiantis hermeneutinės metodikos atramų; naudotasi spausdintais šaltiniais ir Lietuvių tautosakos archyve esančia medžiaga. The article deals with folk couplets (Lith. pl. talalinės) – an underresearched peripheral genre of the Lithuanian folklore. This genre includes short, mostly one stanza-long comic songs that frequently deal with obscene topics and use unquotable vocabulary. This unadvertised folk poetry provisionally dates back to the middle of the 19th century, when its first publications appeared. This genre of folksong attributed to the popular culture of laughter has been always marginalized in relation to the traditional culture. Therefore, the article presents an analysis of this ill-repute frivolous folksong genre, touching upon various aspects of its functioning. The main problem under investigation is, why couplets with no recognized positive value have been so popular among certain groups of the village community (especially young people), and on what grounds this essentially merry and playful folkloric communication has been carried on, bearing in mind that this process is actually not over even today. The development of the Russian частушка as a special instrument of communication and its meaning in the scholarly discourse is also taken into consideration, as well as possible influence of these Russian couplets upon their Lithuanian counterparts. The analysis of talalinės is based upon materials from the Lithuanian Folklore Archives and various publications. Firstly, the article gives an outline of the meager publication and research history of this genre, noting that for a long time these couplets have been made into a certain kind of the sociocultural taboo even in the sphere of scholarly investigation. Right from the beginning of its publication in the second half of the 19th century and throughout the Soviet times, this genre was ignored as having no artistic (or esthetic) value, which was the only criterion applied to the folklore appreciation during that period. However, the first half of the 20th century could be considered the “golden age” in terms of the public spread of these couplets: when the Lithuanian radio started broadcasting, these comic folklore pieces found their way into its program, immediately gaining huge public approval. However, performance only of couplets with appropriate contents was allowed; particularly those dealing with political or obscene topics had to be avoided. The reader is reminded about a historical case from the interwar period, when public distribution of proverb collection edited and published in 1934 by the famous writer Vincas Krėvė-Mickevičius was prohibited, since it contained 300 of obscene texts, which caused significant restrictions to the availability of this publication. A similar misfortune had somewhat earlier befallen the Latvian colleagues publishing a volume of “dirty” Latvian folksongs and other folklore. Such censorship was related to the rigorous program of fostering the national morality of the time that was introduced by the government. However, the authorities did not interfere with collecting of the obscene folklore for the archiving purposes. Therefore, big amounts of folklore material attributed to the culture of laughter were collected especially in the interwar period. Further reviewing of the history of talalinės elucidates the connections between these songs thriving in the 19th – the first half of the 20th century and the humorous poetry created by the contemporary poets, as well as the newly formed folksong genres related to it. The author presents a wide field of miscellaneous relations evolving around this form of folklore. She pays attention to the sarcastic way of caricaturing used in these couplets, when for the purposes of fun-making the outdated popular customs and beliefs are critically targeted, made fun of and vulgarized using obscene vocabulary. Discussion of the essential peculiarities of the talalinės pattern, among other things, elucidates two main tendencies in the thematic canon of this genre. One part of these couplets simply treats the members of the native community and their relationships in a humorous way, as if observing them through a sarcastically distorting comical lens. These cutting couplets mock people from the immediate surroundings, making fun of them as if having previously sorted them into groups according to various characteristics. These include: 1) age groups (making fun of the things that are well-suited to the young but ill-suited to the old, and vice versa), 2) social status (gibing at relations between people from different social classes, like landlords and farmhands, as well as those not engaged in agriculture, like craftsmen, particularly tailors, shoemakers, blacksmiths, but also musicians, priests, nuns, etc.), 3) the alleged or true foreigners, distinguished on the grounds of belonging to a different religious or ethnic group, or characterized by different behavior (however, certain “foreign” character may be attributed to nearly everyone that comes from another community, including a neighboring village or some further locality in Lithuania). [...] Having compared the Lithuanian talalinė with the outwardly related Russian частушка, the author concludes that in spite of certain coincidences, the Lithuanian couplets were composed and structurally arranged independently from their Russian counterparts. However, the most important thing is that the Lithuanian talalinė, recorded for the first time in the second half of the 19th century, presented an alternative for the old folksong, and continued to exist / keeps existing alongside the folksong, abstaining from dismantling its traditional canon, although occasionally making fun of it.

Diplomska naloga se osredotoča na literarni razvoj kratke proze Franja Frančiča, s poudarkom na podobi sveta in izkustvu likov njegovega literarnega sveta, ki povečini stopajo po družbenem obrobju. Zaznamovani s tragičnimi življenjskimi izkušnjami se zatekajo v odklonilna družbena dejanja, kot so nasilje, odvisnosti ter nenavadne oblike erotičnih in spolnih praks in razmerij, kar pa so tudi značilnosti t.i. transgresivne literature oz. prestopniškega leposlovja. Prvi del naloge sestavlja kratek filozofski oris pojma transgresije, ki ga je prvi obširno obravnaval Georges Bataille, ter umestitev pojma v svetovni literarni okvir. V nadaljevanju skušam ugotoviti kaj konstruira družbeno resničnost Frančičevih likov ter koliko in na kakšen način subjekt v Frančičevi prozi zrcali prvine transgresivne fikcije. Pokaže se, da se Frančičeva kratka proza na mnogo mestih dotika Batailleove definicije transgresije, še posebej v načinu opisovanja erotizma, zlorab, nasilnih dejanj - iz tega izhajajočega eksistencialnega položaja subjekta ter kritiki družbenega sistema. The undergradute thesis focuses on the literary development of short stories of Slovene writer Franjo Frančič, with the emphasis on the image and the experience of the characters of his literary world, who mostly come from the margins of society. Marked with tragic life experiences they seek consolation in the divergent social acts, such as violence, addictions and unusual forms of erotic and sexual practices and relationships. These characteristics also happen to be main features of a literary genre called transgressive literature or transgressive fiction. The first part of the thesis consists of a brief outline of the philosophical concept of transgression, which was first widely discussed by Georges Bataille, and how the transgressive literature illuminates this definition. Then the research attempts to analyze what exactly constructs the social reality of characters in short prose of Franjo Frančič and how it reflects the elements of transgressive fiction. It appears that the short stories of Franjo Frančič touch Bataille's definition of transgression in many places, especially in the way of describing existential situation of the individuals, the experince of eroticism, abuse, violence and in criticism of the social system.

Uz cestu Marija Bistrica - Adamovec, nedaleko od raskrižja prema Lazu, može se na izdancima pratiti slijed srednjomiocenskih naslaga. U bazi slijeda vide se polimiktni, klastpotporni do matrikspotporni konglomerati. Valutice uglavnom odgovaraju sastavu okolnih stijena, a vezivo predstavlja koralinacejski bioklastični vekston. Sekundarni nalazi velikih oštriga upućuju na moguća ostrižišta, vjerojatno nedaleko od riječnoga ušća. U zaštićenim lagunama stvarali su se rodoliti malih dimenzija, živjele su halimede i nježni, razgranjeni mahovnjaci i puževi. U oligotrofnim uvjetima alge su učestalije od mahovnjaka. Zbog isparavanja povećana je koncentracija i kristalizacija kalcijeva karbonata, koji je cementirao bioklaste. Oko nekih su bioklasta vidljive kortoidne ovojnice, a sediment je tipa grejnston. Rodolitno-briozojske biokonstrukcije nastajale su najviše u plitkoj potplimnoj zoni, najvjerojatnije na dubinama od 20 do 30 m. Mjestimice su izgrađivale barijere između laguna i otvorenoga mora. One se nisu uspjele sačuvati in situ, već kao fragmenti u bioklastičnim taložinama padine. Na strmijim padinama pokazuju mikrostrukturu floutstona. Sadržavaju velike briozojske kolonije i bioerodirane solitarne koralje, kakvi su mogli živjeti u nešto dubljemu okolišu, vjerojatno između 30 i 75 m, uz nešto veću količinu nutrijenata. U vrhu slijeda, samo desetak metara iznad konglomerata, leže lapori s pučinskim organizmima (kalcitičnim nanoplanktonom, planktonskim i malim bentičkim foraminiferama i planktonskim puževima, pteropodima), kakvi su obično taloženi na distalnim padinama. Morska je razina brzo rasla, što je dovelo do naglih promjena u istraženome taložnom prostoru. Planktonski organizmi iz lapora upućuju na NN5 nanoplanktonsku zonu srednjega badena, pa se tonjenje rampe može povezati s početkom transgresivno-regresivnoga ciklusa TB 2.4., Fossiliferous Middle Miocene deposits from the surroundings of Marija Bistrica (north-east of Zagreb) transgressively overly older pre-Cenozoic bedrocks. Fossils from shallow marine environments are in most cases preserved as bioclasts, while deep marine calcareous oozes characterize the pelagic marls. The age of the transgressive sequence is estimated on the basis of planktic biota from marls (foraminifera, nannoplankton and pteropods) as the Badenian NN5 Nannozone. The following palaeoenvironments can be distinguished or presumed on the basis of biota and sedimentary features: (1) beach characterized by polymictic conglomerates with rhodolith-rich carbonate matrix; (2) oyster banks, recognized from secondarily found oyster clusters; (3) lagoons marked with compact bioclastic deposits and rhodolith-halimeda assemblage; (4) patch-reefs recognized from the surrounding bioclastic deposits; (5) shallow subtidal mäerl beds preserved as loose bioclastic deposits and (6) distal slope argillaceous marls with pelagic biota. Palaeoenvironmental analyses indicate rapid drowning, most probably corresponding to the transgression during the Middle Badenian TB 2.4 3rd order transgressive-regressive sequence.

Maģistra darbā „Pārkāpuma estētika jaunākajā latviešu prozā” ir pētīta transgresijas jeb pārkāpuma estētikas ģenēze jaunākajā latviešu prozā, par pamatu izmantojot 20. gadsimta franču intelektuālās elites teorētisko mantojumu, mūsdienu filozofiju, un aktuālās tendences cittautu literatūrzinātnē. Pētījumā tiek analizēti latviešu mūsdienu prozas darbi, sākot ar 2005. gadu, un aplūkots, kā izpratne par transgresiju tiek konstruēta un attīstās gan laviešu literatūrkritiskajā un teorētiskajā domā, gan latviešu postmodernajā prozā. Šis pētījums tiecas atspoguļot jaunas perspektīvas, kā aplūkot un analizēt postmoderno latviešu prozu. Maģistra darba avoti ir Arvja Kolmaņa, Andras Manfeldes, Ingas Žoludes, Nila Saksa, Edmunda Frīdvalda un Jāņa Joņeva prozas darbi, kuros tiek atspoguļota transgresīvā estētika attiecībā pret sociālajām, morāles un ētikas normām., In the work of masters degree ”Transgression Aesthetics in Newest Latvian Prose”, there is researched the transgression genesis of aesthetics in the newest latvian prose. By foundation using 20th century theoretical heritage of french intelectual elite, today’s philosophy and current tendencies in other nation literal theory. In the research there is analysed Latvias today’s prose starting with the year of 2005, and there is adressed how understanding of transgression is built and develops in latvian literatures critical, and theoretical thought and latvian postmodern prose. This research strives to reflect new perspectives on how to look at and analize latvian postmodern prose. Masters degree work sources are Arvja Kolmaņa, Andras Mafeldes, Ingas Žoludes, Nila Saksa, Edmunda Frīdvalda and Jāņa Joņeva prose in which there is reflected transgressive aesthetics in relation with social, morale and ethical norms.

Šiame tekste trumpai pristatysiu vieną iš savo meninio mąstymo principų – bricolage’o principą. Tai darysiu remdamasi antropologo Claude’o Levi-Strausso veikale Laukinis mąstymas aprašytu „pirminiu“ mąstymo būdu. Jį iliustruosiu pavyzdžiu iš savo asmeninės patirties, parodydama, kaip atsitiktinis įvykis ir jo metu sukurti vaizdai bei po keturių mėnesių spontaniškai atsiversta atsitiktinai į rankas patekusi knyga (Samuelio Becketto Neįvardijamasis) įtakoja kito vaizdinio susikūrimą ir atsiradimą mano darbinėje aplinkoje. Tad šiame tekste dekonstruosiu savo mąstymo eigą, tekstą kurdama koliažo būdu, nes šį būdą naudoju ir kurdama vaizdus, t. y. sukuriu kažką naujo iš tarpusavyje nesusijusių detalių. The author of the article presents a method of artistic research that she uses to reflect on everyday experience and different turns of circumstances, constantly symbolically reconstructing them along with her own thinking. While referring to the statements by Jean Francois Lyotard, Nelson Goodman, Wofgang Iser and other thinkers, the fluidity and constant dynamism of postmodern reality and artistic research reflecting on that reality is emphasised. With the help of fantasy the author connects the perception of what is “here and now” with what is not yet there, and in her artistic research flexibly depicts the occurrences of daily life as if they were a kind of intellectual adventure whose participants cannot predict its outcome. In the article special attention is devoted to one of the principles of artistic thinking – bricolage, which is developed on the basis of the “primeval” mode of thinking described by anthropologist Claude’o Levi-Strauss in his work Savage Mind. It is mythical (artistic) thinking based on sensations, imagination and intuition, a kind of intellectual craftsmanship. Bricolage often means a movement or detour from the direct route in order to avoid an obstacle. In the article this principle is illustrated by a (hopefully) funny example of collaboration between art and science. It is an amusing chance event, during which art critic Agnė Narušytė, philosopher Vytautas Ališauskas, photographicartist Alvydas Lukys, artist Kęstutis Grigaliūnas and the author of the article, artist Laisvydė Šalčiūtė spontaneously drew their own versions of ELEFANTUS FURIOSUS (a mad elephant). The author describes an unexpected movement of thought or a kind of bricolage when, several months after this event, a book that accidentally fell into the author’s hands and was opened (The Unnamable by Samuel Beckett), influenced the creation of a new image – LEPUS FURIOSUS (a mad rabbit) and its appearance in the author’s work environment. The article stresses the incompleteness of a narrative as a means of artistic expression that leaves some space for an undefined creative exchange between the reader / viewer and an artistic object – a text and proposed images found on the internet.

Premda se u proučavanju književnosti ime Michela Foucaulta vrlo često spominje, njegovi brojni radovi posvećeni književnosti ostali su izvan obzora interesa književne teorije ; dapače, njegovo se djelo često navodi kao teorijski model suprotstavljen tzv. tekstualističkim shvaćanjima. Čitanjem Foucaultovih eseja o piscima kao što su Bataille, Klossowski, de Sade, Roussel i Blanchot te teorijskom pojmu autora, rad nastoji kroz prizmu tri koncepta – transgresije, iskustva jezika i autorske funkcije – uspostaviti djelatni okvir nečega što bi se kolokvijalno moglo nazvati mišljenjem književnosti Michela Foucaulta i pokazati kako bi tako zacrtano poimanje moderne književnosti moglo biti od znatne heurističke koristi. Tim više što je u izravnoj opreci spram epistemoloških, konceptualnih i interpretativnih modela uobičajenih u teorijskim i kritičkim pristupima koji se pozivaju na rad Michela Foucaulta.

This article discusses aspects of cultural criminology that are a continuation of the critical tradition on one hand and aspects that constitute qualitatively new insights on the other. Cultural criminology emerged in the 1990s as a branch of criminology building on the heritage of critical criminology and adapting it to changing social and political conditions. In attempting to respond to the analytical and ideological crisis in critical criminology, cultural criminologists have adapted new concepts (such as transgression and edgework), found new methods for researching liquid and complex phenomena, and engaged in activism to counter processes of othering in the public sphere. Cultural criminology focuses on several major problems: the tensions of late modernity in interactions between individuals and groups negotiating norms by and in upholding or breaking them; the presentation and reification of crime in the media; the spatial analysis of power relations. The article argues that the main focus of the field is understanding (Verstehen), based on the principle of sensitive criminological understanding, and enabling a discussion of multiple normativity and a praxis–oriented application of knowledge.

Knjiga je analitička studija cjelovitog opusa Edite Schubert u kojoj se razmatra njezin konceptualni postupak koji autorica označuje kao artikulaciju “povijesti slikarstva u eksperimentalnim uvjetima”.

U prvom dijelu ovog razmatranja autor se bavi Batailleovim mišljenjem transgresije ; u drugom dijelu prikazaje probleme tumačenja Picassove slike Raspeće polazeći od razdvajanja na retorički i vizualni oblik artikulacije smisla ; u zaključnome osvrtu naglasak je na postavkama o slikovnome obratu i preobrazbama u shvaćanju suvremene umjetnosti s tijelom kao suverenim događajem slobode i žrtve.

Otok Lošinj, kao dio geotektonske zone Adriatik, formirao se postpleicenskom transgresijom. U geomorfološkom smislu čitavo cresko-lošinjsko otočje nastavak je planinskih grebena Ćićarije, odnosno njenog južnog produžetka - Učke, čiji su dijelovi potopljeni. Pravac pružanja otoka dinarski, sjeverozapad-jugoistok, a na najužem dijelu razdvojen je umjetnim kanalom Privlaka na dva dijela, sjeverni i južni. Sjevernim, istraživanim ijelom, čija površina iznosi 52,4 km2, pruža se greben brdskog uzvišenja Osoršćica te dva zaravnjenija dijela - lesna zaravan na jugozapadu te krška zaravan na sjeveroistoku otoka. One su ostatak potopljene veće krške zaravni. Najveći dio terena istraživanog područja izgrađen je od kredenih (vapnenac i dolomit), tercijarnih (vapnenac) i kvartarnih sedimenata (finozrni pijesak). Geomorfološka analiza provedena u ovom radu obuhvaća morfometrijska, morfografska i morfogenetska obilježja reljefa. Na istraživanom području izdvojeni su slijedeći morfogenetski tipovi reljefa: krški, fluviokrški, padinski, marinski, sufozijski i antropogeni. Geomorfološku sintezu predstavlja izrada geomorfološke karte sjevernog dijela otoka Lošinja. Island of Lošinj, as a part of geotectonic zone of Adriatic, was formed by transgression in Pleistocene. In geomorphological terms Cres and Lošinj archipelago are part of Učka, the southern extension of Ćićarija mountain ridges which parts are submerged. The island extends in typically Dinaric NW-SE direction. At the narrowest point it is separated in northern and southern part by artificial canal Privlaka. The northern part, which is the object of research, has an area of 52,4 km2 and it consists of hilly mountain ridge Osoršćica and two flattened parts - loess plateau in the southwest and krast plateau on the northeastern part of the island. The flattened parts represent submerged krast plateau remains. Most of the studied area is made of Cretaceous limestone and dolomite, Tertiary limestones and Quaternary fine grain sand. Conducted geomorphological analysis in this paper includes morphometric, morphogenetics and morphographic relief features. In the studied area the following morphogenetic relief types are detected: krast, fluviokrast, slope, marine, loess and anthropogenic relief. Geomorphological map of the northern part of the island represents the geomorphological synthesis of this study.

Područje istraţivanja obuhvaćeno doktorskom disertacijom nalazi se u centralnim delovima Vardarske zone. Karakteriše se sloţenom geološkom građom koju grade mezozojske tvorevine trijaske, jurske i kredne starosti, kao i kvartarni sedimenti. U trijasu je istraţivano područje pokrivalo more, sve do granice sa Šumadijom. Tokom jure sloţenim geotektonskim procesima stvaraju se ofiolitske stene rasprostranjene u juţnim i delom u centralnim delovima istraţivanog područja. U donjoj kredi se pokretima dinarske faze izdiglo kopno, koje je egzistiralo skoro u celoj donjoj kredi područja istraţivanja. U alb-cenomanu pojedini delovi istraţivanog područja se spuštaju i zahvata ih morska transgresija. Dalja kompresija, tokom gornje krede, dovodi do tektonskih deformacija u ovom području i otvaranja basena u kojima se odvijala karbonatna i karbonatno-terigena sedimentacija. Predmet istraţivanja ove doktorske disertacije predstavljaju sedimentne stene taloţene tokom cele gornje krede i njihova evolucije kroz vreme i prostor centralnog dela Vardarske zone. Rezultati dobijeni ispitivanjima petroloških, biostratigrafskih i genetskih karakteristika sedimentnih stena omogućila su raščlanjavanje gornje krede. Izdvojene su četiri litostratigrafske jedinice: 1. jedinica bazalnih gruboklastita, 2. jedinica šelfnih klastično-karbonatnih stena, 3. jedinica krečnjaka i laporaca sa roţnacima kontinentalne padine i 4. jedinica klastično-karbonatnih turbidita. Gornjokredne jedinice po svojim karakteristikama ukazuju na kontinuitet u sedimentaciji, bez naglih promena u reţimu taloţenja. Na plitkovodni karakter basena najviše upućuje postepeni prelaz priobalskih, plitkovodnih (šelf) i basenskih karbonatnih ili karbonatno-klastičnih stena (kontinentalna padina). Prvu izdvojenu jedinicu bazalnih stena čine najstarije sedimentne stene gornje krede (alb-cenoman). Postoje dva tipa razvića bazalnih gruboklastita. Prvi tip se moţe definisati kao konglomerati i konglomeratični krečnjaci izgrađeni od valutaka ofiolitskih stena, dok se konglomerati i konglomeratični krečnjaci drugog tipa razvića karakterišu fragmentima koji vode poreklo od karbonatnih stena. Nakon brze sedimentacije, usledila je mirnija faza koja je dovela do pojave konglomerata sitnijeg zrna i konglomeratičnih krečnjaka sa proslojcima laporaca i glinaca. Diferenciranjem morskog dna se pored dubljih morskih delova, obrazuju i podvodni grebeni na kojima se razvijaju sprudne i subsprudne stene. Takvim tvorevinama odgovaraju analizirani crveni krečnjaci u Drenovcu. Tokom cenomana se kontinuirano na bazalne stene taloţe stene koje pripadaju litostratigrafskoj jedinici šelfnih sitnozrnih karbonatno-klastičnih stena. Izgrađena je od alevrolita, kalcitskih alevrolita, glinovitih alevrolita, peskovitih alevrolita i peskovito-glinovitih alevrolita. Oni čine postepene prelaze ka kalcitskim peščarima, kalkarenitima i kalkruditima, koji predstavljaju završnu fazu plitkovodnih facija i najvećim delom su erodovani. U sitnozrnim sedimentima Ješića i na Rajcu razvijena je breţuljkasta kosa slojevitost koja u višim delovima prelazi u planarnu kosu slojevitost malih uglova. Ove teksture nastaju kada je taloţenje povezano sa olujama, a tokom mirnih vremenskih perioda sa plimatskim strujama. Na osnovu litoloških, biostratigrafskih i genetskih osobina dve najstarije gornjokredne izdvojene jedinice, one se moraju posmatrati kao celina. U vreme njihovog formiranja fizičko-hemijski uslovi sredine bili su promenljivi, što se odraţava kroz redosled taloţenja materijala. U gornjem turonu, usled dalje trangresije produbljavanja basena bilo je još izraţenije. Sedimentacija se obavljala u basenu sa smanjenom energijom vode i pojavom pelaških organizama: radiolarija i foraminifera (Globotruncana), a od makrofaune amonita i inoceramusa. Stvarale su se pelaške sedimentne stene, predstavljene laporcima, laporovitim krečnjacima, glinovitim krečnjacima i krečnjacima, svi sa konkrecionim roţnacima. Jedinica krečnjaka i laporaca sa roţnacima zauzima najveći prostor na ispitivanom terenu centralnog dela Vardarske zone. Sedimentacija se odvijala na kontinentalnoj padini bez prekida do kraja mastrihta. Karbonatne stene mikritskog do biomikritskog sastava predstavljaju autohtone stene ove jedinice. U vreme visokog nivoa mora (trangresije) koja je dovodila do jaku eroziju obale, u basen se povremeno turbiditnim tokovima donosila velika količina materijala. Nastajale su turbiditne stene (grubljeg i finijeg zrna) koje su se smenjivale i mešale sa autohtone karbonatnim stenama basena. Prisustvo turbidita (kalkrudita i kalkarenita) sa karakterističnim teksturama iz Boumine sekvence potvrđuje povremeni prinos plitkovodnog materijala turbiditnim tokovima niz kontinentalnu padinu. Kao neodvojivi deo jedinice pojavljuju se konkrecioni roţnaci, koji nastaju obaranjem silicije iz rastvora i metasomatskim zamenjivanjem karbonata u ljušturama fosila. Proces nastanka konkrecionih roţnaca objašnjava se niskim vrednostima pH i nepovoljnim uslovima za opstajanje silicije u rastvorenom obliku. Gornjokredni basen u centralnom delu Vardarske zone, tokom senona, širio se ka Šumadiji, dok je u njegovim zapadnim i jugozapadnim delovima došlo do izdizanja kopna. Tektonsko izdizanje planinskih masiva omogućilo je jače fizičko i hemijsko raspadanje stena i taloţenje debelih naslaga turbidita na kraju kampana i u mastrihtu. Iz turbiditnih tokova preteţno klastičnog detritusa, nastalih iz više izvora sa šelfa i margine padine, taloţile su se stene u obliku spojenih lepeza koje su formirale široku zonu u obliku zastornih turbidita (apron turbidite). Oni čine najmlađu izdvojenu litostratigrafsku jedinicu u gornjokrednim sedimentnim stenama područja istraţivanja. Najveće rasprostranjenje imaju pločasti sivi srednjozrni peščari bogati liskunima, alevroliti i ređe konglomerati, dok su u manjoj meri su zastupljeni laporci i krečnjaci. Kampan-mastrihtski turbiditi na području istraţivanja deo su ljiškog i šumadijskog fliša. The research area covered by doctoral thesis is situated in the central part of the Vardar zone. It is characterized by a complex geological structure built by Mesozoic (Triassic, Jurassic and Cretaceous) and Quaternary sediments. During Triassic age investigated area was covered by sea to the Šumadija area border east. During the Jurassic complex geotectonic processes created ophiolitic rocks, widespreaded in the southern and partly in the central parts of the study area. In the Lower Cretaceous, tectonic movements of Dinar phase uplift the mainland, and these conditions existed almost throughout the whole Lower Cretaceous. In the Alb-Cenomanian, some parts of the study area were lowered and they became under the influence of sea transgression. Further compression during the Upper Cretaceous lead to tectonic deformation in this area causing basin opening, and sedimentation of carbonate and carbonate-terigenous began. Subject of this dissertation are sedimentary rocks deposited during the whole Upper Cretaceous and their evolution through time in the central part of the Vardar zone. Results obtained from petrologic investigation, biostratigraphic and genetic characteristics of sedimentary rocks allowed division of the Upper Cretaceous. Four lithostratigraphic units are separated: 1. Unit of basal coarsegrain clastites, 2. Unit of clastic-carbonate rocks from shelf, 3. Unit of limestone and marl with cherts of the continental slope, and 4. Unit of clasticcarbonate turbidites. Upper Cretaceous units by their characteristics indicate continuity in sedimentation, with no abrupt changes in the regime of deposition. Gradual transition of coastal, shallow-water (shelf) and basin carbonate or carbonateclastic rocks (continental slope) indicates shallow character of the basin. The first determined unit was formed from basal sedimentary rocks of AlbCenomanian age with two distinct types of basal coarse-grain clastic rocks. The first type can be defined as conglomerate and conglomeratic limestones made of ophiolite pebbles, while conglomerates and conglomeratic limestone of second type are characterized by fragments originating from carbonate rocks. After fast sedimentation, a calmer phase followed, which led to the occurrences of conglomerates with smaller grains and conglomeratic limestones with layers of marl and shale. By differentiation of the sea bottom, close to the deeper parts of the sea, (submarine cliffs) reef and subreef rocks were formed. Such formations correspond to analyzed red limestones in Drenovac quarry. During the Cenomanian age the lithostratigraphic unit of shelf with finegrained carbonate-clastic rocks was deposited continuously on basal rocks. It consists of siltstones, calcites siltstones, clayey siltstones, sandy siltstones and sandy-clayey siltstones. They make a gradual transition to calcite sandstones, calcarenite and calcrudites, which represents the final phase of shallow-water facies and they are mostly eroded. In fine-grained sediments on Ješić and Rajac locality, hummocky cross bedding, which in upper parts are exceeding in planar cross bedding with small angles are developed. This type of texture occurs when the deposition is associated with storms or during the quiet periods with high tide currents. On the basis of lithological, biostratigraphic and genetic characteristics of the two oldest Cretaceous units, they must be considered as a one unit. At the time of their forming, physical and chemical environmental conditions were variable, which reflects the order of deposition. In the Upper Turonian, due to further transgression, deepening of the basin was even more evident. Sedimentation was with reduced water energy and appearance of pelagic organisms: radiolarians, foraminifera (Globotruncana) and macrofauna with ammonites and Inoceramus. Pelagic sedimentary rocks were created, represented by marls, marly limestones, clayey limestones and limestones, all with concretion cherts. Unit with limestones and marls with cherts occupies the largest area in the central part of the investigated area of the Vardar Zone. Sedimentation took place on the continental slope without interruption until the end of Maastrichtian age. Carbonate rocks of micritic to biomicritic composition are autochthonous rocks of this unit. At the time of high sea level (transgression) which led to the occasional strong coastal erosion, turbiditic flows brought large amounts of material in the basin. Turbiditic rocks, made of coarser and finer grains, alternated and mixed with the autochthonous carbonate rocks from the basin. Presence of the turbidites (calcrudites and limestones) with characteristic textures from Bouma sequence confirms the occasional bringing of shallow material with turbiditic flows down the continental slope. Concretion cherts appear as an integral part of the unit, which were created by settling of silica from solution and metasomatic replacing of carbonates in the shells of fossils. The origin of concretion cherts is explained with low pH values and unfavorable conditions for the persistence silica in (solution) form. Upper Cretaceous basin in the central part of the Vardar Zone, during the Senonian age was spreading to Šumadija region, while, in its western and southwestern parts, mainland uplifting occurred. Tectonic uplift of mountain massifs allowed stronger physical and chemical disintegration of rocks and deposition of thick layers of turbidites at the end of the Campanian and Maastrichtian age. From turbidite flows, predominantly with clastic detritus formed from several shelf and margin slope sources, rocks were deposited in the form of a merged fan, which further formed a wide zone of apron turbidites. They represent the youngest defined lithostratigraphic units in the Upper Cretaceous sedimentary rocks in the investigated area. The largest distribution have flattened gray medium coarse sandstones, rich in mica, siltstones and rarely conglomerates, marls and limestones. CampanianMaastrichtian turbidites in the research area are the part of the Ljig and Šumadija flysh.

Magistro darbas analizuoja įžymiųjų Frankfurto atstovų – Foucault ir Habermaso diskusiją, detaliau gilinamasi į komunikacinio veiksmo teorijos ir genealogijos metodų aiškinimą ir jų taikomumą. Nors apie šią diskusiją jau buvo plačiai analizuota ir apsvarstyta viešojoje akademinėje bendruomenėje, tačiau šio darbo išskirtinumas yra tai, kad gilinamasi į transgresijos perspektyvos atveriamus dekonstrukcijos ir rekonstrukcijos motyvų kryptingumų atskleidimus. Svarbu išsiaiškinti, ar socialinių formų destabilizacija įtakoja dekonstrukciją, ar rekonstrukcija nesudaro priežastinių ryšių santykių hierarchijos, vedančios link vienos krypties orientyro (vienpusiškumo)? Remiantis transgresijos sąvokos koncepcija, nurodančia įvykių nesugrįžtamo motyvo prielaidą ir panašių įvykių pakartotinumo galimumo motyvą. Apibendrinant pastaruosius pastebėjimus, galime teigti, kad rekonstrukcija ir dekonstrukcija atlieka svarbų vaidmenį socialiniuose moksluose atsirandantiems emerdžiškumams. Siekiant plačiau analizuoti komunikacinio veiksmo teorijos ir genealogijos metodų pateiktis, kuriamos koreliacijos, išryškinusios emerdžentiškumo motyvo skvarbių pretenzijų pasireiškimą. Magistrinis darbas siekia praturtinti klasikinės socialinės metodologijos keliamų klasifikavimo standartų nugulusius reikalavimus naujomis stiliaus atpažinimo galimybėmis, sutelkiančias lygiavertę lygiavimosi pretenziją į meninio stiliaus paraiškos svarumo pateiktį. This masterʼs thesis analyses the debate of the famous Frankfurt representatives Foucault and Habermas, while examining in more detail the interpretation of the theory of communicative action and genealogy methods and their applicability. Although this debate has already been widely analyzed and discussed in the public academic community, however, the uniqueness of this paper is the analyzing of the disclosures of the purposefulness of the motifs of the deconstruction and reconstruction, revealed by the transgression perspective. It is important to find out, whether the deconstruction or reconstruction, which are influenced by the destabilization of social forms, do not constitute the hierarchy of causative relations, leading to the one – way target. Based on the notion of the transgression concept, indicating the hypothesis of the motif of the irreversibility of events and the motif of the possibility of the repeatedness of similar events. Summarizing the recent observations, it can be stated about the importance of the reconstruction and deconstruction in social sciences, while originating emergentisms. In order to analyze in more detail the method presentations of the theory of communicative actions and genealogy, the correlations are created, in order to emphasize the penetrating pretensions of the emergentism motif. This master‘s thesis aims to enrich the standard overlying classification requirements, raised by the classical social methodology, with the new... [to full text]

Ovim se tekstom ispituje antiesencijalistička usmjerenost motiva postavljanja heterologije u teorijskom postmarksističkom diskursu američkog časopisa Oktobar (October), reviji za suvremenu teoriju i politiku umjetnosti, umjetničku kritiku i (vizualnu) umjetnost. Primjenom i interpretacijom pojmovnog aparata Georgesa Bataillea (1897.–1962.), usmjerenom prema marksističko-materijalističkoj analizi teorijskih implikacija heterologije, u tekstu se izvodi kritika hermeneutičke moći, hegemonističkog, normativnog, zapadnog modernizma i postmodernizma. Teza rada je da motiv postavljanja Batailleova (anti)filozofskog pojmovnog okvira u projektu Oktobar „počiva“ na dispozitivu kritike marksističko-materijalističkog idealizma. Pisanje nove zapadne hibridne povijesti umjetnosti možemo, po tome, označiti i odrediti (novom) utopijskom povijesnom heterologijom., The aim of this text is to explore the anti-essentialist orientation of the motif of heterology positing in the theoretical, post-Marxist discourse of the American journal October, dedicated to the contemporary theory and politics of art, art criticism, and the (visual) arts. By applying and interpreting the terminological apparatus of Georges Bataille (1897-1962), directed at a Marxistmaterialist analysis of the theoretical implications of heterology, this text aims at offering a critique of hermeneutical power, of the hegemonic, normative, and Western modernism and postmodernism. The leading hypothesis is that the motif of positing of Bataille’s (anti-)philosophical terminological framework in the October project can be traced back to the dispositive of a critique of Marxistmaterialist idealism. The writing of a new, Western and hybrid art history can thus be defined and determined by a (new) utopian historical heterology.

Poststrukturalizam i dekonstrukcija obilježili su književnoteorijsku scenu druge polovice dvadesetog stoljeća, ali iz njihova je kanona izostavljen Georges Bataille koji je postavio temelje na kojima su se razvijali autori poput Blanchota, Foucaulta, Derridaa i Nancyja. Njegov stil, uvijek na granici književnog i filozofskog, labirint je društvene kritike i ideja koje vode drugačijem propitivanju marksizma kao društvene teorije i komunizma kao cilja razvoja društvene formacije. Ovaj rad prolazi kroz slojeve Batailleeva pisanja kako bi, fokusirajući se na tri segmenta (iskustvo, transgresiju i opću ekonomiju), pokazao djelotvornost i domete njegovih teza o subjektu i zajednici. U konačnici se pokušava pokazati kako se radi o životnom djelu i razvoju filozofskog sustava u kojemu postoji koherentnost ideja koja se često previđala, dok je sam Bataille bio odbacivan kao relevantan intelektualac.

U interpetaciji "Žrtvenih lomača" Asena Razcvetnikova tragični i baladični elementi su povezani sa žrtvenom strukturom pjesničke zbirke. Korišteno je nekoliko žrtvenih modela - biblijski žrtveni modeli (starozavjetni mesijanizam i novozavjetna Muka), obredi prijelaza (koji također počivaju na žrtvenoj strukturi), a pjesnički subjekt priziva i vlastitu žrtvenu smrt, odnosno žrtveno stapanje sa sakraliziranim znakom naroda. Ovaj postupak je popraćen specifičnim patosom povratka koji je povezan s određenim ideološkim i književnoprogramatskim implikacijama vezanim uz period nastanka zbirke. Tragični elementi su vezani uz moment transgresije koji omogućava refleksiju zakonskih i moralnih normi. Čovjekovo obogotvorenje se ostvaruje na samom kraju zbirke postupkom dvostruke transgresije - razbijanjem željezne kapije i otkidanjem zabranjenog voća.

Tijekom donje krede bitno su se promijenili taložni okoliši na području SZ Hrvatske. Stvoreni su uvjeti za sedimentaciju gornjokredno- paleocenskog fliša, ali također i za prestanak sedimentacije na prostorima mezozojske karbonatne platforme. Zamiranjem krednog dinamizma prestaje i taloženje fliša – kompresiju zamjenjuje ekstenzijska tektonika, što je izazvalo novu raspodijelu kopna i mora, odnosno, novi raspored taložnih okoliša. Paleocenske naslage ukazuju da je velik dio sjeverozapadne Hrvatske u to vrijeme bio preplavljen morem. Izrazita transgresija dogodila se u mlađem badenu. Na lokalitetu Svete Nedelje je konstatirana transgresivna granica između badenskih i paleocenskih naslaga, te normalna kontinuirana granica između badenskih i sarmatskih naslaga, koje ukazuju na izmjene taložnih okoliša (marinski i marinski smanjenog saliniteta) uzrokovanih transgresivno-regresivnim ciklusima.

Tekst se bavi čitanjem radova Edite Schubert (1947.–2011.) nastalih tijekom 1990-tih, kontekstualizirajući ih ne samo promjenom diskurzivne paradigme u smislu otklona od modernističke estetike, već prije svega tranzicijskim razdobljem u Hrvatskoj gdje nastaju, odnosno razdobljem globalizacije nakon pada Berlinskog zida. Postupak transgresije pojedinog medija kojim je obilježen ukupni opus slikarice Edite Schubert, tijekom devedesetih godina dvadesetog stoljeća postaje svojevrsno pregovaranje s procesima medijalizacije svojstvenim postmodernom, ili postindustrijskom društvu. Tekst razmatra radove nastale u zadnjem desetljeću umjetničina života, posebice one autoreprezentacijskog karaktera u relaciji s pojmom biopolitičke proizvodnje u razdoblju neoliberalne ekonomije.

Struktura zbirke "Proljetni vjetar" je krajnje fragmentirana, ali možemo uočiti jednu razvojnu liniju od kaotične, mračne, košmarne atmosfere u prvom dijeu zbirke do ekstatičnog rastvaranja lirskog subjekta na njezinom kraju. U prvom dijelu dominira religijsko-etička perspektiva koncentrirana oko osjećaja sveprisutnog grijeha. U drugom dijelu transgresija etičkih i religijskih okvira je potpuna, religijsko-etička perspektiva je potpuno napuštena zajedno s čežnjom za izgubljenom prošlošću koja je označavala zauvijek izgubljenu nevinost prije pada u grijeh mimetičkog nasilja.

Antrojoje XX amžiaus pusėje prasidėjo mokslo sričių (disciplinų, dalykų) integracijos procesai, apibūdinami multi-, poli-, pliurali-, inter-, tarp-, trans- discipliniškumo terminais. Parodoma, kad tarptautinis terminas „disciplina“ turi kur kas platesnę prasmę nei lietuviškas terminas „dalykas“, suprantamas kaip mokslo šaka ar sritis. Teigiama, kad svarbiausiu kriterijumi, leidžiančiu apibūdinti disciplinų sąveikų tipus, turi būti „disciplininio grynumo“ pažeidimo laipsnis, o transdisciplininis projektas, skirtingai nei kiti disciplinų integracijos tipai, „disciplininio grynumo“ reikalavimą atmeta iš principo. Parodoma, kad transdisciplininis projektas pirmiausia siejamas su siekiu akademinį mokslą orientuoti į pragmatinį socialinių reikmių tenkinimą, į jį įtraukiant neakademinius veiksnius. Atkreipiamas dėmesys į tai, kad stiprioji transdisciplininio diskurso versija, kuri pabrėžia poreikį gilintis į fundamentalius pasaulėvaizdžio klausimus ir siekia suvienyti visus mokslus, susiduria su rimtomis ontologinėmis bei epistemologinėmis problemomis. Išsakomas nuogąstavimas, kad dėl jų transdisciplininis projektas gali likti apologetinio pobūdžio ar tik euristikos šaltiniu.Pagrindiniai žodžiai: mokslas, dalykai, disciplinos, transdisciplininis diskursas, transgresija.Transdisciplinary Project: Breakthrough in Synthesizing Science and PracticeSaulius Kanišauskas SummaryThe second half of the 20th century witnessed discontent with rigid distinction between science specializations, thus science integration processes which can be described in terms of multi-, poli-, pliurali-, inter-, trans- disciplinary started to evolve. The article attempts to show that the international term “discipline” has a significantly broader meaning than the Lithuanian term “subject”, which is perceived as a branch or field of science. It is maintained that the vulnerability degree of “disciplinary purity” should be the most important criterion which allows defining relation types of disciplines. However, conversely to other types of disciplinary integration, the transdisciplinary project rejects the requirement of “disciplinary purity” in principle. Moreover, the transdisciplinary project is first associated with striving to direct the academic science that it could satisfy the pragmatic social needs through introduction of non-academic factors. Also, the article points out that the “strong version” of the transdiciplinary project which focuses on the need to delve into fundamental questions of worldview and which attempts to consolidate all sciences faces serious ontological and epistemological problems. As a result, there is considerable danger that due to not solved epistemological problems, the transdisciplinary project is at risk to remain of apologetic character and a source of heuristics.Keywords: science, subjects, discipline, transdisciplinary discourse, transgression.