
<oai_dc:dc xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:oai_dc="http://www.openarchives.org/OAI/2.0/oai_dc/">
  <dc:date>2022</dc:date>
  <dc:identifier>https://phaidrabg.bg.ac.rs/o:29540</dc:identifier>
  <dc:identifier>doi:10.46630/jkal.2022.26</dc:identifier>
  <dc:identifier>cobiss:65422857</dc:identifier>
  <dc:language>srp</dc:language>
  <dc:title xml:lang="srp">Alternativa Šekspirovoj „Buri”: Gde je Kaliban u romanu Đavolji nakot Margaret Atvud? </dc:title>
  <dc:title xml:lang="eng">AN ALTERNATIVE TO SHAKESPEARE’S “THE TEMPEST”: WHERE IS CALIBAN IN MARGARET ATWOOD’S NOVEL HAG-SEED?</dc:title>
  <dc:subject xml:lang="srp">Ključne reči: Kaliban, „drugi”, potčinjeni, postkolonijalna kritika, teorija adaptacije, alternativa </dc:subject>
  <dc:rights>All rights reserved</dc:rights>
  <dc:source>Jezik, književnost, alternative</dc:source>
  <dc:description xml:lang="srp">Sažetak:
Kraj XX i početak XXI veka beleži veliki broj studija, interpretacija i adaptacija Šekspirovog komada „Bura”. Jedna od značajnijih, skorije objavljenih adaptacija je ro man Đavolji nakot, kanadske autorke Margaret Atvud, nastao kao deo projekta izdavačke kuće Hogart, a u čast 400 godina od rođenja Viljema Šekspira. „Đavolji nakot” ili „đavolje seme”, uvreda koju Prospero upućuje Kalibanu aludirajući na njegovo poreklo, a ujedno i naslov Atvudinog romana, nedvosmisleno ukazuje čitaocima da bi tema ove alternative Šekspirove „Bure” mogla biti Kaliban. Ipak, dok je većina likova Šekspirovog komada lako prepoznatljiva u ovoj adaptaciji smeštenoj u savremenom kanadskom društvu, lik Kalibana je bestelesan, potpuno rekonstruisan i do čitalaca dolazi na indirektan način, kroz glasove i likove zatvorenika popravnog doma Flečer. Analizirajući Đavolji nakot iz perspektive postkolonijalne književne kritike ovaj rad dolazi do zaključka da Atvudino isključivanje Kalibana iz radnje njene adaptacije surovo oslikava njegovu dehumanizaciju i status „drugog” u Šekspirovom komadu. Zatvorenici se lako identifikuju sa Kalibanom, njegovom situacijom, potčinjenim položajem i pokušajima da se tome suprotstavi. Demonizovani i marginalizovani od strane društva u kojem žive, oni su takođe udaljeni i neželjeni „drugi” u svetu ove moderne „Bure”. Oslanjajući se u analizi takođe i na noviju teoriju adaptacije prema kojoj adaptacija predstavlja stvaralački proces čija je osnovna premisa da sačuva priču iz originalnog književnog dela, ali i da istovremeno udahne neko novo viđenje, uzimajući u obzir prilagođavanje nekoj alternativnoj svrsi, funkciji ili okolini, ovaj rad ispituje koncept „drugog” i analizira njegovu transformaciju u novom okruženju. </dc:description>
  <dc:description xml:lang="srp">Abstract:
The end of the 20th and the beginning of the 21st century saw the publication of many
studies, interpretations, and adaptations of Shakespeare’s play “The Tempest.” One of
the most significant recently published adaptations is the novel Hag-Seed: The Tempest
Retold, by the Canadian author Margaret Atwood, created as a part of the Hogarth
Press project and in celebration of the 400th birthday anniversary of William Shakespeare.
The “Hag-Seed,” or the “devil’s seed,” an insult that Prospero directs to Caliban
alluding to his origin, and at the same time the title of Atwood’s novel, unequivocally indicates to readers that the topic of this alternative Shakespeare’s “Tempest” might be
Caliban. However, while most of the characters in Shakespeare’s play are easily recognizable
in this adaptation set in the contemporary Canadian society, the character of
Caliban is disembodied, fully reconstructed, and it indirectly reaches readers through
the voices and characters of the Fletcher Correctional Center inmates. Analyzing Hag-
Seed: The Tempest Retold from the perspective of postcolonial literary criticism, this
paper concludes that Atwood’s exclusion of Caliban from the world of its adaptation
cruelly depicts his dehumanization and the status of the “other” in Shakespeare’s play.
The inmates easily identify with Caliban, his predicament, his subordinate position
and attempt to oppose it. Demonized and marginalized by the society in which they
live, they are also distant and unwanted “other” in the world of this modern “Tempest.”
Relying in the analysis on a newer theory of adaptation according to which it is a creative
process whose basic premise is to preserve the story from the original literary
work, but also to create a new reading, and to suit the adaptation to an alternative
purpose, function or environment, this paper examines the concept of the “other” and
analyzes its transformation in the new environment.</dc:description>
  <dc:format>application/pdf</dc:format>
  <dc:format>395415 bytes</dc:format>
  <dc:type>info:eu-repo/semantics/article</dc:type>
  <dc:creator id="https://orcid.org/0000-0002-9169-1358">Janjatović (rođ. Vesić), Violeta</dc:creator>
</oai_dc:dc>
