Papers by Danica Igrutinović
Religija i tolerancija, Dec 31, 2022
Rezime: U postmodernom, postsekularnom svetu u kome se religija ponovo javlja kao bitan društveno... more Rezime: U postmodernom, postsekularnom svetu u kome se religija ponovo javlja kao bitan društveno-politički faktor, optužbe za svetogrđe se na velika vrata vraćaju kao oružje u simboličkim borbama identitetskih grupa. Ovaj rad će stoga težiti da pruži opšti teorijsko-istorijski uvod u problematiku optužbi za svetogrđe, bogohuljenje, blasfemiju ili skrnavljenje svetinja. Nakon definicije pojmova, uslediće istorijski pregled pristupa blasfemiji u tradicionalnom judaizmu, hrišćanstvu i islamu, nakon čega će dat prikaz razvoja problematike u postsekularnom svetu. Zatim će se razmotriti funkcije koje optužbe za svetogrđe mogu obavljati u društvu, a posebno kako se njihovom proučavanju može pristupiti u kontekstu Srbije XXI veka.
Зборник Матице српске за књижевност и језик, 2022
Испољавајући фасцинантну амбиваленцију према симболу
воде у свим потенцијалним значењима – како о... more Испољавајући фасцинантну амбиваленцију према симболу
воде у свим потенцијалним значењима – како оним старијим и
увреженим, тако и оним новостеченим путем филозофије, психоанализе и антрополошког проучавања митова – модернизам креира свој мит о трансформативној пловидби олујним морима која
води до могућности контроле над водама. Уликс је репрезентативни текст модернизма, али истодобно такође већ поседује иронични
отклон од темељних митова епохе. Овај текст тежи да анализира
метафоричка значења које има вода у Џојсовом Уликсу, уз посебан
осврт на симболичко путовање преко воде, у коме вода растаче,
али затим и регенерише јунака. Вода се у Уликсу повезује са изгнанством из – већ од самог почетка непостојеће – стабилности
дома и здравог разума а ка свему што је примитивно, примално,
ирационално, или на неки други начин узнемирујуће. Као репрезентација протејске праматерије, вода је анимална и феминина,
повезана са сексуалношћу, рађањем и материнством. Материца је
истодобно и гробница, а рођење повезано са смрћу, готово неизбежно управо кроз метафорику воде. У Хад и Пакао се у роману
стиже кроз воду, а оба садрже различите водене страхоте који прате праматерију – од просте смртности и пропадљивости до дубљег
суочавања са кривицама и гресима које се морају спрати, често кроз
барем симболичну смрт. На смрт дављењем, која може са собом
донети регенерацију, често се алудира у роману, и она се повезује
са идејама крштења и, шире, лустралних вода. Блага која вода даје
јунаку који се спусти до њених крајњих дубина укључују међуљудско јединство, уметност и животодавне воде. У Уликсу се такође
назначава да је могуће – управо пратећи траг воде – пронаћи некакав
средњи пут између Скиле и Харибде духа и материје, аскетизма и
хедонизма, објективности и субјективности.
Кључне речи: вода, модернизам, мит, Уликс.
Књижевна историја
This paper seeks to interpret the fundamental Modernist poem The Waste Land by T. S. Eliot throug... more This paper seeks to interpret the fundamental Modernist poem The Waste Land by T. S. Eliot through a set of ideas existing in and arguably creating Modernism as it is known – the mythology of water as the fundamental but fickle fluid Other, subsisting at the basic level of the world and giving life to it while constantly needing to be controlled and tamed by a superior civilizing force – usually masculine – colonizing and taming the unruly savage. This mythology of water has at its core the story of katabasis/nekyia, a symbolic night journey over water deriving from ancient imaginaries, leading into Hell and back. The journey begins with exile from the rational, stable civilized world, and descent into the irrational, chaotic, watery depths of the unconscious and prime matter. In this underwater Hades or Hell, the hero is confronted with the watery beast that is the basis of carnal life at whose hands he suffers a symbolic death, which leads to a rebirth. The beast is often a guardian of precious life-giving treasure, and the victorious hero is allowed to take the spoils with him back to the surface.
Književna istorija (0350–6428), 54/176 (2022), 2022
This paper seeks to interpret the fundamental Modernist poem The Waste Land by T. S. Eliot throug... more This paper seeks to interpret the fundamental Modernist poem The Waste Land by T. S. Eliot through a set of ideas existing in and arguably creating Modernism as it is known – the mythology of water as the fundamental but fickle fluid Other, subsisting at the basic level of the world and giving life to it while constantly needing to be controlled and tamed by a superior civilizing force – usually masculine – colonizing and taming the unruly savage. This mythology of water has at its core the story of katabasis/nekyia, a symbolic night journey over water deriving from ancient imaginaries, leading into Hell and back. The journey begins with exile from the rational, stable civilized world, and descent into the irrational, chaotic, watery depths of the unconscious and prime matter. In this underwater Hades or Hell, the hero is confronted with the watery beast that is the basis of carnal life at whose hands he suffers a symbolic death, which leads to a rebirth. The beast is often a guardian of precious life-giving treasure, and the victorious hero is allowed to take the spoils with him back to the surface.
Public Discourses About Homosexuality and Religion in Europe and Beyond, 2020
This chapter offers an overview of changes in Dutch perceptions of, and attitudes toward, same-se... more This chapter offers an overview of changes in Dutch perceptions of, and attitudes toward, same-sex sexuality and the part religion played in them. It discusses landmark events and publications from 1730—when “sodomy” became a public issue—until the present. It describes the evolution of discourse on same-sex sexuality, with special reference to the earliest publications on “homosexuality,” alias “Uranism,” which often referred to religion. In the twentieth century, Roman Catholic and Protestant opposition to homosexual emancipation gradually gave way to sympathy, and in the 1960s some pastors were vocal advocates of acceptance. In the early 1970s, homosexuality became a doctrinal issue, a religious identity marker. Polarization was exacerbated in the late 1970s, which saw the rise of both the gay and lesbian movement and religious fundamentalism. “Discursive associations” between religion—including Judaism and Islam—and homosexuality are brought to light partly by means of quantitat...
Универзитет у Новом Саду, Oct 30, 2014
Religija i tolerancija, 2022
Ovaj rad bavi se slobodom veroispovesti i slobodom govora u domenu kritike veroispovesti u država... more Ovaj rad bavi se slobodom veroispovesti i slobodom govora u domenu kritike veroispovesti u državama članicama EU kroz tri osnovna modela (francuski, nemački i engleski) koje one imaju pri uređenju svojih odnosa sa religijskim zajednicama svojih građana. Osvrće se na potencijalne probleme ovih modela sekularnosti u oblasti prava na slobodu veroispovesti i slobodu govora, navodeći za svaki model bar po jedan primer šire poznatih kontroverzi iz XX i XXI veka.U zaključku se, nakon uočavanja opštih tendencija prisutnih u svakom od modela, postavlja nekoliko kratkih teorijskih pitanja vezanih za sekularnost države i društva -sa posebnim osvrtom na sekularnost javnog i medijskog prostora -u postsekularnom svetu.
Philologia, 2012
Rad analizira metaforička značenja koja ima voda u romanu Ka svetioniku Virdžinije Vulf u okviru ... more Rad analizira metaforička značenja koja ima voda u romanu Ka svetioniku Virdžinije Vulf u okviru nove mitologije vode koju je uveo modernizam putem tumačenja drevnih mitova od strane prvih antropologa i psihologa. Posebno se osvrće na simboličko putovanje preko vode, u kome voda rastače, ali zatim i regeneriše junaka. Najznačajniji simbol u romanu, svetionik, suprotstavljanjem fluidnosti života, nastajanja, i nestajanja, ovom analizom dobija dodatna značenja.
This paper examines rebirth through water in Coleridge's "The Rime of the Ancient Marine... more This paper examines rebirth through water in Coleridge's "The Rime of the Ancient Mariner" and Barnes' A History of the World in 101⁄2 Chapters. It attempts to illuminate the reasons for the differences in the treatment of the archetype between the two texts, mainly pertaining to the changing perspective on female fertility.
This chapter explores the responses to the exhibition Ecce Homo by Swedish photographer Elisabeth... more This chapter explores the responses to the exhibition Ecce Homo by Swedish photographer Elisabeth Ohlson Wallin in two countries where the exhibition was on display: Sweden (1998–99) and Serbia (2012). In this exhibition, Ohlson depicts twelve moments from the life of Jesus Christ, mixing the imagery and symbolism of church art and queer culture while positioning Jesus in present-day Sweden. The chapter aims to explore how public responses to art that is perceived to be blasphemous or controversial to illuminate the construction of religion and homosexuality in relation to national belonging. Located at the crossroads of religion, the secular, and the modern, blasphemy cases are instances of impure mixing Plate where both proponents and opponents of a certain work of art, cartoon, or pop song determine what “real” religion is, and in that sense blasphemy cases read like moments of identity politics. The chapter will argue that in Sweden, Ecce Homo led to a meaningful debate on the t...
Journal of Empirical Theology, 2015
In post-Yugoslav countries, national identity seems to be increasingly defined by the formulation... more In post-Yugoslav countries, national identity seems to be increasingly defined by the formulation of a traditional discourse on sexuality and gender, culminating in a growing interference of religious institutions with national debates and policies onlgbt-rights. In this paper we aim to gain more insight into the discursive effects of such sexual nationalist discourse by exploring responses of the Serbian Orthodox Church to the 2014 Belgrade Pride parade. Drawing from theories on religious and sexual nationalism and queer geography, we will argue that while the Serbian Orthodox discourse on homosexuality is becoming more secular, this secularization of public speech is compensated by a strategy of reclaiming the streets of Belgrade through politically charged public religious ritual. As the church is in this way making its anti-lgbtattitude physical and visible, Serbian citizens are increasingly requested to agree to Church teachings on sexuality and gender as a prerequisite for rel...
Belgrade English Language and Literature Studies, 2014
The essay explores bombast as one of the defining features of Shakespeare's style of writing in t... more The essay explores bombast as one of the defining features of Shakespeare's style of writing in the earliest, pre-1594 phase of his career as a dramatist. The qualifier 'earliest' is an operative term which refers to the part of Shakespeare's canon that has not been explored in recent criticism. Bombast is considered as both a logical and rhetorical instrument of knowing. At the cognitive dimension of text, improbability, which is the key feature of bombast, plays an important role in 'earliest' Shakespeare because it captures competing currents of thought that fill dramatic plots, as they were described in the Elizabethan practices of playwriting, and moves the action forward. 'Earliest' Shakespeare is both under the spell of Christopher Marlowe's bombastic blankverse, but he also looks beyond Marlowe, turning bombast into a tool of opening up new possibilities for drama performed within the specific context of London's burgeoning theatre scene in the 1590s.
FACTA UNIVERSITATIS-Linguistics and Literature, 2009
This paper examines rebirth through water in Coleridge's "The Rime of the Ancient Mariner" and Ba... more This paper examines rebirth through water in Coleridge's "The Rime of the Ancient Mariner" and Barnes' A History of the World in 10½ Chapters. It attempts to illuminate the reasons for the differences in the treatment of the archetype between the two texts, mainly pertaining to the changing perspective on female fertility.
English Studies Today: Words and Visions, pp. 101-114. , 2017
Thoroughly warned by Neoplatonically inclined Renaissance love theorists to be wary of mistaking ... more Thoroughly warned by Neoplatonically inclined Renaissance love theorists to be wary of mistaking lust for love, some Shakespeare's heroes make the equally fatal error of mistaking love for lust instead, which causes them to banish or murder its invariably female representatives. In these cases, as this paper will attempt to show, another tenet of Renaissance Neoplatonism will apply: the Neoplatonic "golden chain"-the divine ray of light permeating and binding all and the ordering backbone of the universe-will prove to have been indistinguishable from love itself. When this love is banished, the entire cosmos will dissolve into chaos. Erroneously believed to have put love, which is mere lust, above duty, figures such as Cordelia, Desdemona, and Hermione are cast off by male heroes. Deconstructing the love/duty dichotomy in these instances of banished representatives of love who are simultaneously found to be the bearers of harmony and order, Shakespeare proves that love is duty, order, and the bond of the universe, and that the two cannot be separated. Casting his heroines in the roles of champions for harmony, Shakespeare allows them a measure of theurgical agency-more often reserved for males-albeit often of a passive and fragile kind. This is with particular poignancy represented in the shattering of the microcosmic harmonies created through musical performance by Lavinia and Desdemona that occurs at their demise. The only fully successful female theurgist is Paulina, whose feats approach those of Prospero, though she is allowed only the use of the "witchcraft of her wit."
English Language and Literature Studies: Interfaces and Integrations (ed. Zoran Paunović, Katarina Rasulić, Ivana Trbojević), Faculty of Philology, University of Belgrade, vol. 3, pp. 85-94., 2007
This paper attempts to examine Hamlet's situation in some of its possible religious and mythologi... more This paper attempts to examine Hamlet's situation in some of its possible religious and mythological implications and view it as symbolic of the eternal problem of evil in the world. King Hamlet and King Claudius, the two father-figures who claim Hamlet, as representatives of good and evil in the microcosm of the play, are seen through such divergent creeds as Gnosticism, the Cabbala and Christianity and both shown to be ambiguous and potentially sinister. Hamlet's failure to act in this deceptive world is further justified by an investigation of the possibilities of taking positive action in it. Creating the theatrical illusion of the play within the play proves to be the only way of breaking all illusions and holding up a mirror both to Claudius and Hamlet in which they can behold each other. Hamlet's identification with Claudius via his projected act of vengeance, which is revealed through the character of Lucianus, and his inability to face this Claudius within-the rebellious, parricidal side of his own nature-help us to better understand his inability to face the Claudius without.
Igrutinović D., van den Berg M. (2020) Ecce Homo in Sweden and Serbia: State, Church, and Blasphemy. In: Derks M., van den Berg M. (eds) Public Discourses About Homosexuality and Religion in Europe and Beyond. Palgrave Macmillan, Cham. pp. 261-283, 2020
This chapter explores the responses to the exhibition Ecce Homo by Swedish photographer Elisabeth... more This chapter explores the responses to the exhibition Ecce Homo by Swedish photographer Elisabeth Ohlson Wallin in two countries where the exhibition was on display: Sweden (1998-99) and Serbia (2012). In this exhibition, Ohlson depicts twelve moments from the life of Jesus Christ, mixing the imagery and symbolism of church art and queer culture while positioning Jesus in present day Sweden. The chapter aims to explore how public responses to art that is perceived to be blasphemous or controversial illuminate the construction of religion and homosexuality in relation to national belonging. Located at the crossroads of religion, the secular, and the modern, blasphemy cases are instances of impure mixing (Plate 2006) where both proponents and opponents of a certain work of art, cartoon, or pop song determine what "real" religion is, and in that sense blasphemy cases read like moments of identity politics. The chapter will argue that in Sweden, Ecce Homo led to a meaningful debate on the theological implications of the exhibition, resulting in a redefinition of what counts as sacred in Sweden: the inclusion of LGBT people by Christians, in general, and the Church of Sweden, in particular. In Serbia, public debates on Ecce Homo illuminate the role of Christianity, in particular, Orthodoxy, in the transformation of Serbia from a post-socialist to a post-secular state, a process in which the "two Serbias" (traditionalist, associated with Orthodoxy and liberal, cosmopolitan, secular) compete for the future of Serbian society.
Digital spaces – challenges and expectations, 2017
This paper focuses on how national identities have recently been negotiated in different European... more This paper focuses on how national identities have recently been negotiated in different European countries (EU member states, one EU candidate state, and one EU opt-out member), mainly in relation to EU identity, refugees, religion, and LGBT rights. We will document instances of media discourse, revolving especially around digital media, to point out the quite dissimilar ideas on who ‘we’ are and the ideologies underpinning various ‘us’ versus ‘them’ binaries applied in relation to different social groups using strategies of Othering in the construction of national identities.
In: Bulatović Ljiljana (ed.), Digital spaces – challenges and expectations, FMK 2017, pp. 211-252
This paper will attempt to show how, through an ambiguity of the association of Eros and Thanatos... more This paper will attempt to show how, through an ambiguity of the association of Eros and Thanatos, as either the negative terrible fatality of sex or the positive orgasmic eroticism of death, Shakespeare seems to be deconstructing the usual Neoplatonic dichotomy of pure spirit and prime matter. Both the erotic ascent to henosis and the carnal descent to prime matter lead, ultimately, to nothingness and death. Death is inescapably the end of all desire in both meanings of the phrase: either as the inevitable end of all carnal desire or the desired end itself.
Uploads
Papers by Danica Igrutinović
воде у свим потенцијалним значењима – како оним старијим и
увреженим, тако и оним новостеченим путем филозофије, психоанализе и антрополошког проучавања митова – модернизам креира свој мит о трансформативној пловидби олујним морима која
води до могућности контроле над водама. Уликс је репрезентативни текст модернизма, али истодобно такође већ поседује иронични
отклон од темељних митова епохе. Овај текст тежи да анализира
метафоричка значења које има вода у Џојсовом Уликсу, уз посебан
осврт на симболичко путовање преко воде, у коме вода растаче,
али затим и регенерише јунака. Вода се у Уликсу повезује са изгнанством из – већ од самог почетка непостојеће – стабилности
дома и здравог разума а ка свему што је примитивно, примално,
ирационално, или на неки други начин узнемирујуће. Као репрезентација протејске праматерије, вода је анимална и феминина,
повезана са сексуалношћу, рађањем и материнством. Материца је
истодобно и гробница, а рођење повезано са смрћу, готово неизбежно управо кроз метафорику воде. У Хад и Пакао се у роману
стиже кроз воду, а оба садрже различите водене страхоте који прате праматерију – од просте смртности и пропадљивости до дубљег
суочавања са кривицама и гресима које се морају спрати, често кроз
барем симболичну смрт. На смрт дављењем, која може са собом
донети регенерацију, често се алудира у роману, и она се повезује
са идејама крштења и, шире, лустралних вода. Блага која вода даје
јунаку који се спусти до њених крајњих дубина укључују међуљудско јединство, уметност и животодавне воде. У Уликсу се такође
назначава да је могуће – управо пратећи траг воде – пронаћи некакав
средњи пут између Скиле и Харибде духа и материје, аскетизма и
хедонизма, објективности и субјективности.
Кључне речи: вода, модернизам, мит, Уликс.
In: Bulatović Ljiljana (ed.), Digital spaces – challenges and expectations, FMK 2017, pp. 211-252
воде у свим потенцијалним значењима – како оним старијим и
увреженим, тако и оним новостеченим путем филозофије, психоанализе и антрополошког проучавања митова – модернизам креира свој мит о трансформативној пловидби олујним морима која
води до могућности контроле над водама. Уликс је репрезентативни текст модернизма, али истодобно такође већ поседује иронични
отклон од темељних митова епохе. Овај текст тежи да анализира
метафоричка значења које има вода у Џојсовом Уликсу, уз посебан
осврт на симболичко путовање преко воде, у коме вода растаче,
али затим и регенерише јунака. Вода се у Уликсу повезује са изгнанством из – већ од самог почетка непостојеће – стабилности
дома и здравог разума а ка свему што је примитивно, примално,
ирационално, или на неки други начин узнемирујуће. Као репрезентација протејске праматерије, вода је анимална и феминина,
повезана са сексуалношћу, рађањем и материнством. Материца је
истодобно и гробница, а рођење повезано са смрћу, готово неизбежно управо кроз метафорику воде. У Хад и Пакао се у роману
стиже кроз воду, а оба садрже различите водене страхоте који прате праматерију – од просте смртности и пропадљивости до дубљег
суочавања са кривицама и гресима које се морају спрати, често кроз
барем симболичну смрт. На смрт дављењем, која може са собом
донети регенерацију, често се алудира у роману, и она се повезује
са идејама крштења и, шире, лустралних вода. Блага која вода даје
јунаку који се спусти до њених крајњих дубина укључују међуљудско јединство, уметност и животодавне воде. У Уликсу се такође
назначава да је могуће – управо пратећи траг воде – пронаћи некакав
средњи пут између Скиле и Харибде духа и материје, аскетизма и
хедонизма, објективности и субјективности.
Кључне речи: вода, модернизам, мит, Уликс.
In: Bulatović Ljiljana (ed.), Digital spaces – challenges and expectations, FMK 2017, pp. 211-252