Science Fiction in Belgrade in the 1920s: A Possible Contribution to the Development of Metropolitan Belgrade

Historian Jovana Babović claims that post-World War I Belgrade residents embraced different foreign cultural influences in an attempt to become citizens of western type metropolis. Various examples that support her claim were discovered through analysing a specific area of popular culture — science fiction — and enriched with interesting findings about surprisingly fast translations of certain stories, at the very beginning of the establishment of science fiction as an independent genre by Hugo Gernsback, publisher of the world’s first SF magazine Amazing Stories (1926). Several stories from its first issues appeared after only a few months in the Belgrade magazine Reč i slika [Words and Images], with faithful copies by domestic illustrators of original drawings by the leading US genre illustrator of that time, Frank R. Paul. Despite the relatively small number of translated stories, influence on domestic writers and illustrators of popular fiction was significant. The importance of these stories is reflected in the growing penetration of Serbian popular culture by US influences, which began to gain signifi cance in relation to the hitherto dominant French, German and Russian influences. Unfortunately, considering that most of the people involved in these activities died during World War II, and that there is no archived documentation, the pathways by which these stories reached readers in Serbia have yet to be uncovered.

Ten-Four

This story is an appropriation/erasure of George Orwell’s 1984, remixing some of its original text with concepts from popular fiction and academic literature, including my published work. These concepts include: lateral surveillance; pandemic policing; data capitalism; predictive policing; and posthuman. The story contributes to the diverse, expanding field of cultural production known as “speculative fiction… a mode of thought-experimenting” (Oziewicz 2017). Rather than trying to predict the future, speculative fiction “unsettles the present” with what-if questions that allow us to “develop alternative social imaginaries and open up new perspectives” and “spaces of debate” (Dunne and Raby 2013: chapters 88, 189, 3).

The Short Story: A Very Short Introduction

The Short Story: A Very Short Introduction charts the rise of the short story from its original appearance in magazines and newspapers. For much of the 19th century, tales were written for the press, and the form’s history is marked by engagement with popular fiction. The short story then earned a reputation for its skilful use of plot design and character study distinct from the novel. This VSI considers the continuity and variation in key structures and techniques such as the beginning, the creation of voice, the ironic turn or plot twist, and how writers manage endings. Throughout, it draws on examples from an international and flourishing corpus of work.

Dystopias in the Realm of Popular Culture: Introducing Elements of Posthuman and Postfeminist Discourse to the Mass Audience Female Readership in Cecelia Ahern’s Roar (2018)

This article analyzes selected short stories in Cecelia Ahern’s thirty-narrative collection Roar (2018) to see how (and with what losses or gains) the perspectives of posthuman and postfeminist critique can be incorporated via the common dystopic umbrella into the mainstream female readership of romance literature. The dystopic worlds created by Ahern in Roar portray inequality and power imbalances with regard to gender and sex. The protagonists are mostly middle-aged women whose family and personal lives are either regulated by dystopic realities or acquire a “dystopic” dimension, the solutions to which are provided by, among other tropes, “posthuman” transformations. Roar introduces other-than-human elements, mostly corporeal alterations, in which the female bodies of Ahern’s characters become de-formed and re-formed beyond androcentric systems of value. The article raises the question of whether feminist and, to some extent, “posthuman” (speculative) approaches, need to be (and indeed should be) popularized in such an abridged way as Ahern does in her volume. The answer depends upon the identification of the target audience and their expectations. Ahern’s Roar represents popular literature intended to be sold to as many readers as possible, regardless of their education, state of knowledge, etc. Viewed from that perspective, what some critics could perceive as the collection’s structural weaknesses constitutes its utmost marketing asset. The essay argues that despite not being a structurally innovative work of art, Ahern’s book fulfils the basic requirements of the popular fiction genre, intermittently providing some extra, literary gratification and popularizing rudimentary elements of the posthuman and postfeminist thought.

A Different Shade of Pink: Literary Thresholds and Cultural Intersections in Italian Chick Lit

<p>This thesis investigates the Italian production of chick lit, a particular segment of contemporary women’s popular fiction developed in the mid 1990s in Anglophone countries. A worldwide phenomenon born out of Helen Fielding’s Bridget Jones’s Diary (1996) and the HBO TV show Sex and the City (1998), chick lit novels portray the professional, emotional and sentimental anxieties of white, middle-class, heterosexual and financially independent women in a witty and humorous tone. The arrival of chick lit and its successful translation into Italian in the late 1990s has prompted many local writers to engage with the genre, but the growing body of chick lit written in Italian and its place in the cultural and literary landscape have yet to be assessed. This thesis explores recurring themes, narrative strategies and stylistic features deployed in Italian chick lit novels not only against their Anglo-American models, but also in relation to Western popular media culture and the Italian tradition of romanzo rosa, its cultures and practices as well as its legacy. It shows the presence of distinct intertextual patterns in dealing with key generic features, such as the identification with the female protagonist and her journey toward self-empowerment, the relationship with consumerism and popular media culture, and the humorous style. This thesis also assesses the nature of chick lit as both a literary genre and a sociocultural phenomenon across countries and languages through theoretical perspectives of cultural studies and feminist theories on women’s popular culture and Western popular postfeminism.</p>

A Different Shade of Pink: Literary Thresholds and Cultural Intersections in Italian Chick Lit

<p>This thesis investigates the Italian production of chick lit, a particular segment of contemporary women’s popular fiction developed in the mid 1990s in Anglophone countries. A worldwide phenomenon born out of Helen Fielding’s Bridget Jones’s Diary (1996) and the HBO TV show Sex and the City (1998), chick lit novels portray the professional, emotional and sentimental anxieties of white, middle-class, heterosexual and financially independent women in a witty and humorous tone. The arrival of chick lit and its successful translation into Italian in the late 1990s has prompted many local writers to engage with the genre, but the growing body of chick lit written in Italian and its place in the cultural and literary landscape have yet to be assessed. This thesis explores recurring themes, narrative strategies and stylistic features deployed in Italian chick lit novels not only against their Anglo-American models, but also in relation to Western popular media culture and the Italian tradition of romanzo rosa, its cultures and practices as well as its legacy. It shows the presence of distinct intertextual patterns in dealing with key generic features, such as the identification with the female protagonist and her journey toward self-empowerment, the relationship with consumerism and popular media culture, and the humorous style. This thesis also assesses the nature of chick lit as both a literary genre and a sociocultural phenomenon across countries and languages through theoretical perspectives of cultural studies and feminist theories on women’s popular culture and Western popular postfeminism.</p>

Gender Subtexts in Collusive Linkages between Bhadralok Ethos and Colonial Law in Select Daroga Daptor Narratives

Crime writings can be said to have originated in Bengal in the last decades of the 19th century with the emergence of narratives of seemingly true criminal investigations compiled by real-life darogas like Girish Chandra Bose, Priyanath Mukhopadhyay, and Bakaullah. These non-canonical accounts though rendered in simplistic narrative techniques to report cases that may appear inconsequential to present-day readership not only set the field for more complex fictional works of criminal investigation but also laid the foundations of a new genre of vernacular popular fiction favoured till date. It can be mentioned here that the criminal investigation accounts of Priyanath Mukhopadhyay were serialised as Daroga Daptor for a significant span of a decade which owing to its elements of thrill, mystery, and instruction were immensely coveted by the readers. The significance of the Daroga Daptor narratives for the purpose of the paper however lies in its reflections of the contemporary socio-legal setup comprised of responses towards sexual mores, socio-ethical strictures, and gender positions. In this context, the objective of the paper is to analyse select narratives of Daroga Daptor with females as victims or accused, namely the novel Adarini and the short story “Promoda”. Initiating the process with an overview of the office of the daroga emphasising on the popular associations of daroga with sloth and corruption, the paper will note the manner in which Daroga Daptor marked a paradigm shift in the popular imagination with regards to the intellectual abilities and sensibilities of daroga. Proceeding with the analysis of the aforesaid narratives, the paper by emphasising the 19th-century gender roles with respect to hypermasculine bhadralok norms and tenets of colonial law will situate the women characters as existing in an ambiguous position within the colluding grounds of the two apparently opposite masculine factions. The paper thus will establish the 19th-century native female body as a passive pliable vessel for various ideological experimentations reading them as perpetually incarcerated within the dynamic limits of an efficient, promptly adaptive, and multifariously hegemonic masculine order.

Book, Image, and Social Presence

In the early 1920s, the literary editor Sidney Clark wrote about English classic texts as moral guides for new readers. In 1932, Q. D. Leavis bemoaned the growth of popular fiction as simple escape. More positive overall was the growth of books as constructions of word and image, not just through illustrations but in all aspects of design, layout and increasingly through pictorial dust jackets in books of all kinds. Design of covers and binding revealed much about contents, with the Left Book Club and its rival Right Book Club the most extreme, declaring their content and political stance. In new homes, books became a way of presenting the owners’ tastes to visitors; the design of Penguin Books in particular made purchasing easier and cheaper, and also offered books of many kinds, identifiable by colour-coded covers, to new readers.