About Us Magazine Literary Fiction Live Cams, year 1, Number 1, Summer 2013 Literary live, year 1,

About Us Magazine Literary Fiction Live Cams, year 1, Number 1, Summer 2013 Literary live, year 1, No. 2, Fall 2013 Literary live, year 1, No. 3, Winter 2013 Literature Live, 2 years ., No. 1, Spring 2014 Literature Live, year 2. Number 2, Summer 2014 Literary live, year 2. Number 3, Fall 2014 Literary live, year 2, No. 4, Winter 2014 Credits and contacts
The article was published in the book of Goods, signed in 2013. Nature has endowed me with an unusual trpljivošću in this exercise in my sister's house. She gives me a lot of drzase Robski, and I do not abduct her, because I was in srieda my brothers mockery očekivaše ... unloved mother, because of its flashy never care, never kiss to her mother, but a clear conscience I can say that it no diet neštovaše like me, nor neimaše many worries to her death as I ... Dragojla Jarnević1 Why is my mother's death shook so violently? Simone de Beauvoir Can you escape lolcats from the dead father? When a dead father is dead? Vedrana Rudan
Borrow and connects the titles of two literary djela2 so I sent a text which both focus on tanatosferu and family microsphere from the perspective of sons and daughters. What is common to the works that handy call Necrography? Here are the works: Place Annie Ernaux, Roppongi. Requiem for a father Josef Winkler, Altar for the mother lolcats of Ferdinand Camon, May you and the mother gave birth Vedrana Rudan and Father Gibbon. With objections to the alleged acts for a short time I stop at some more text complementary approaches (Very mild death of Simone de Beauvoir, The Stranger by Albert lolcats Camus, Krležin Back Philip Latinovicza3). Are strung titles confessions with more or less aesthetic intendiranosti. Beletrizirane confessions. It is a so-called. truths of the heart, subjective optics interested parties and that it will, can not be indifferent to the outcome of the narrative. For the accuracy of the data. For the position, implantation, for the right tone, color and most importantly: the problem (not) priopćivosti personal / family lolcats truths / truths. Each of them in some part confessional description paused over the evocative sequences and lean over your writing rhetorically began to ask not whether you missed, which distorted, whether this is a kitschy betrayal of truth? Do not overdo it? Also: Is it all just that simple? (Rudan: 212). At least estetizacijskih upgrade has to Annie Ernoux: (...) that would show the life that was subjected to necessity, have no right to occupy primarily artistic standpoint not try to write something "inspiring" and "touching." (...) Any poetry memories nor cheerful mockery ( ernaux: 16). If it is assumed that the style and language of micro- and macrostructure buildings, that of event-spectrum and mood of the flow of characters usually tend towards rhizomatic luxuries, either in the direction of (new) historical, (pseudo) documentary, philosophical, Familienfuge (genealogy), novel-river , cestopisna novel, queer fiction or other genre of realization, then the demfanje expressive lolcats narrative tools and diffuse prose grid in Place an extremely consistent and if it differs from the others mentioned, also of short works. Confessional time machine controls concise statements, as well as with great emotional distance, short, ragged sentences, monoliths, for example: lolcats (...) Courtesy between parents and children for a long time we had been a mystery. (51) (...) Within the family we knew we only talk belligerently. (Ibid) (...) We ate in silence. At home I have never laughed. (56) (...) The father came into the category of simple or humble or simple people. (Pointed E., p. 57) (...) Mother: "What are you, he is a man from the country" (for the wife, the author's father, Op. DBK, p.47) (...) Perhaps I write because lolcats one another more we did not have anything to say. (P. 60) (...) There is nothing ever was improving; indifference to things. (74) The place (La place, lolcats 1983), the author portrays the father fifteen years after he died. By his own admission lolcats he tried with the novel about a father, but it did not work: Then I started to write a novel in which he was the main character. The feeling of disgust due to storytelling. Recently, I know that the novel is not possible (ernaux: 16). She started writing in the flat (the author's phrase) which seeks to minimize dis / eu / femističko adulteration. In new windows emphatically discusses the mother, also posmrtno4. It should be another occasion to compare the intonation grids in homage to her father for the one consecrated mother. How is pushing persisted in overcoming nostalgia, patetike5, mockery? (City: 32) Camus' Stranger (L'Etranger, 1942), for example, is a smallish book minimalist lolcats eksplikativnosti, lolcats sparing basic of facts, linear plot; and maximum (s) thought redundancy. Founded contiguous. In this direction continues Annie Ernaux. Naked narrative result of the clearance of metaphorical ornaments and depth Gestalt not only locally, but also stylistic and expressive dominant in Camonovu Altar. lolcats In addition, the altar hovers between pseudoinfantilnog discourse - Child's eye - and philosophical meditation fragments, and all end before