<p>U ovoj disertaciji istražuju se mnogobrojni oblici utopije u<br />nekolikim, prvenstveno u književnim segmentima složenog i obimnog<br />opusa H. Dž. Velsa, kao i u nekolikim, prvenstveno u književnim<br />segmentima ne tako obimnog, ali takođe složenog opusa G. Kosteljnika.<br />Studiju čine trinaest poglavlja.<br />Prvo je uvodno, te se u njemu najpre obja&scaron;njavaju predmet, cilj i<br />metodologija istraživanja, a potom se razmatraju najfrekventniji pojmovi:<br />op&scaron;ta i naučna fantastika, i, iznad svih, glavni pojam, utopija. Osvetljavaju<br />se i njena geneza, i njene karakteristike, i njene funkcije.<br />U drugom poglavlju su najpre izloženi faktori nastajanja, postojanja i<br />nestajanja utopija, a u nastavku je prezentirana iscrpna tipologija utopija.<br />U trećem i četvrtom poglavlju govori se o formiranju stvaralačkih<br />ličnosti H. Dž. Velsa i G. Kosteljnika.<br />Narednih &scaron;est poglavlja ispunjeno je odeljcima putem kojih se<br />osvetljava romaneskno, pripovedačko i diskurzivno (esejističko,<br />sociolo&scaron;ko, politikolo&scaron;ko, naučnopopularno i publicističko) stvarala&scaron;tvo H.<br />Dž. Velsa, kao i poetsko, pripovedačko, dramsko i diskurzivno (esejističko,<br />teolo&scaron;ko, književnokritičko, lingvističko i publicističko) stvarala&scaron;tvo G.<br />Kosteljnika.<br />Jedanaesto poglavlje je zaključno. U njemu je jo&scaron; jednom razmotren<br />značaj utopije uop&scaron;te, a naročito u delu dvojice protagonista ove disertacije:<br />H. Dž. Velsa i G. Kosteljnika.</p> / <p>This thesis researches numerous forms of utopia in several, primarily<br />literary segments from complex and comprehensive opus of H. G. Wells, as<br />well as in several, primarily literary segments of not so comprehensive, but<br />also complex opus of G. Kosteljnik.<br />The study consists of thirteen chapters.<br />The first chapter is introductory, where the subject matter, aim and<br />methodology of the research are explained, and the most frequent notions<br />are considered: general fantasy and science fiction, and, above all, the main<br />notion, utopia. Some light is being shed on its genesis, its characteristics<br />and its functions.<br />In the second chapter, the factors for its emergence, existence and<br />disappearance are presented, along with exhaustive typology of utopias.<br />The tird and fourth chapter deals with formation of creative<br />personalities of H. G. Wells and G. Kosteljnik.<br />The following six chapters include the extracts through which I<br />throw light on romanesque, narrative and discursive (essayistic,<br />sociological, politicological, popular scientific and publicistic) artistic<br />creation of H. G. Wells, as well as poetic, narrative, dramatic and<br />discursive (essayistic, theological, literary-critical, linguistic and<br />publicistic) artistic creation of G. Kosteljnik.<br />The eleventh chapter is conclusion. It once again considers the<br />notion of utopia in general, and particularly in the works of the two<br />protagonists of this thesis: H. G. Wells and G. Kosteljnik.</p>

Thesis (Ph.D. (English)) - Rhodes University, 2008

Selves and Others: The Politics of Difference in the Writings of Ursula Kroeber Le Guin has two founding premises. One is that Le Guin's writing addresses the political issues of the late twentieth century in a number of ways, even although speculative fiction is not generally considered a political genre. Questions of self and O/other, which shape political (that is, powerinflected) responses to difference, infuse Le Guin's writing. My thesis sets out to investigate the mechanisms of representation by which these concerns are realized. My chapters reflect aspects of the relationship between self and O/other as I perceive it in Le Guin's work. Thus my first chapter deals with the representations of imperialism and colonialism in five novels, three of which were written near the beginning of her literary career. My second chapter considers Le Guin's best-known novels, The Left Hand of Darkness (1969) and The Dispossessed (1974), in the context of the alienation from American society recorded by thinkers in the 1960s. In my third chapter, the emphasis shifts to intrapsychic questions and splits, as I explore themes of sexuality and identity in Le Guin's novels for and about adolescents. I move to more public matters in my fourth and fifth chapters, which deal, respectively, with the politicized interface between public and private histories and with disempowerment. In my final chapter, I explore the representation of difference and politics in Le Guin's intricate but critically neglected poetry. My second founding premise is that traditional modes of literary criticism, which aim to arrive at comprehensive and final interpretations, are not appropriate for Le Guin's mode of writing, which consistently refuses to locate meaning definitely. My thesis seeks and explores aporias in the meaning-making process; it is concerned with asking productive questions, rather than with final answers. I have, consequently, adopted a sceptical approach to the process of interpretation, preferring to foreground the provisional and partial status of all interpretations. I have found that postmodern and poststructuralist literary theory, which focuses on textual gaps and discontinuities, has served me better than more traditional ways of reading / English Studies / D. Litt. et Phil. (English)

Selves and Others: The Politics of Difference in the Writings of Ursula Kroeber Le Guin has two founding premises. One is that Le Guin's writing addresses the political issues of the late twentieth century in a number of ways, even although speculative fiction is not generally considered a political genre. Questions of self and O/other, which shape political (that is, powerinflected) responses to difference, infuse Le Guin's writing. My thesis sets out to investigate the mechanisms of representation by which these concerns are realized. My chapters reflect aspects of the relationship between self and O/other as I perceive it in Le Guin's work. Thus my first chapter deals with the representations of imperialism and colonialism in five novels, three of which were written near the beginning of her literary career. My second chapter considers Le Guin's best-known novels, The Left Hand of Darkness (1969) and The Dispossessed (1974), in the context of the alienation from American society recorded by thinkers in the 1960s. In my third chapter, the emphasis shifts to intrapsychic questions and splits, as I explore themes of sexuality and identity in Le Guin's novels for and about adolescents. I move to more public matters in my fourth and fifth chapters, which deal, respectively, with the politicized interface between public and private histories and with disempowerment. In my final chapter, I explore the representation of difference and politics in Le Guin's intricate but critically neglected poetry. My second founding premise is that traditional modes of literary criticism, which aim to arrive at comprehensive and final interpretations, are not appropriate for Le Guin's mode of writing, which consistently refuses to locate meaning definitely. My thesis seeks and explores aporias in the meaning-making process; it is concerned with asking productive questions, rather than with final answers. I have, consequently, adopted a sceptical approach to the process of interpretation, preferring to foreground the provisional and partial status of all interpretations. I have found that postmodern and poststructuralist literary theory, which focuses on textual gaps and discontinuities, has served me better than more traditional ways of reading / English Studies / D. Litt. et Phil. (English)