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Hannah Arendt claims that the American Revolution provides a standard against which political modernity can be analyzed, also that subsequent revolutions failed to engage the conceptual purity of the American model. In contrast to Arendt, Jacques Derrida, in “Declarations of Independence,” renounces Jefferson’s thought as inad-equate, and excuses himself from engaging it on critical terms. Given the fact that Derrida later mobilizes Marx in order to explore similar concerns, now in terms of secularized messianism and from an Abrahamic angle, I analyze how Derrida’s Marx constitutes a position from which to reassess Derrida’s Jefferson.

The article argues that one possible way of understanding the United States at the disposal of American Studies scholars working in the region of ex-Yugoslavia is by retrieving the leftist critique as it was articulated by members of the Croatian Praxis writers. The author begins with the contention that the prevailing representations of the United States today present it as the exemplary country of capitalism. Argu-ing that extant Americanist paradigms let this reality slip under their screen, he goes back to the said leftist critique and reads how they provide a conceptual frame with which to engage the United States. He elaborates this frame in three ways: first, he recalls the Praxis group’s engagement with the United States when the journal was being published; second, he draws attention to Vanja Sutlić’s and Ivan Kovačić’s pro-nouncements on the United States as the exemplary capitalist country; and third, he foregrounds the Praxis group’s Marxist engagement with Heidegger. It is this engage-ment that the author contends is of particular relevance for understanding the pres-ent mutation of capitalism and the place of the United States in the contemporary world. In conclusion, the author argues that a reading of the United States through Marx and Heidegger repositions the work of William Spanos within the archive of the discipline.

Taking as a starting point the eventfulness of 1989—the fall of the Berlin Wall—as a historical break, the author contends that by virtue of historicist inscription, but also careful textual analysis, it could be argued that late-socialist literature in Croa-tia, especially in the genre of the travel narrative (real or imaginary), has been able to register, accumulate and project some of the preceding and successive shifts and breaks. It is in the travel narrative, as recently revived in postmodernist literary theory and conceived of as a para-ethnographic writing, that the discourses of self, other, identity, heteroglossia, translation, and representation find their full articulation. In particular, the article discusses these and related issues on the tentatively constituted corpus of mid-to-late 1980s travel narratives of Croats in the United States by Božica Jelušić, Neda Miranda Blažević, and Josip Novakovich. By conjoining these writers the article offers a new interpretative framework that aims to both transnationalize the reception of these writers and their work, and point to indicative array of hete-ro-images of America that at the time spawned specific auto-images of late socialist Croatian and Yugoslav societies thus producing an emergent vocabulary of historical change.

Understanding modernity seems to be inflected in the narrative conditions of Hamlet: Hamlet may be to modernity what the story of Oedipus is to psychoanalysis, a specimen story in which the intellectual constitution of modernity is decided. In this essay I analyze how industrial modernity finds its articulation in Hamlet, especially in the positions where Hamlet is claimed for realism; realism is taken to mean not a poetics so much as an apparatus instrumental to negotiating the modern condition in the nineteenth century. With a focus on John Everett Millais’s Ophelia (1851–2), I discuss how Ophelia replaces Hamlet as a figure where realism is negotiated in Victorian modernity, also as a figure where modern psychopolitics, with its investment in mourning, finds its foothold in the world of the Industrial Revolution. Lastly, I argue that Ophelia may be where the unresolved narrative conditions of Antigone are retained in Hamlet, along with the political concerns implicit to Antigone’s mourning.

Projekt Bulwark of Europe – Digitizing the Habsburg-Ottoman Frontier bavi se proučavanjem najranije faze razvoja Hrvatsko-slavonske vojne krajine u 16. stoljeću. Projekt je orijentiran prema digitalizaciji i vizualizaciji povijesnog materijala kako bi se prošlost prezentirala na što interaktivniji način u današnjoj eri interneta. U sklopu projekta napravljena je web-stranica na kojoj se prezentiraju različiti problemsko-pregledni eseji vojnokrajiške tematike, karte, interaktivni grafički prikazi te 3D modeli krajiških utvrda. Navedene materijale mogu koristiti svi uzrasti, a nadamo se da će pronaći svoje mjesto i u obrazovnom sustavu, pogotovo u svjetlu nedavnog okretanja digitalnoj nastavi. Na stranici se sistematiziraju različiti kartografski i pisani izvori te donosi pregled najrelevantnije znanstvene literature. Kako bi prezentacija bila odrađena profesionalno, članovi projekta bave se u arhivskim radom na krajiškim izvorima: transkribirali su, obradili i javnosti predstavili do danas najraniji cjeloviti sačuvani popis za prostor Slavonske vojne krajine. U kratkom roku projekt je uspio prezentirati često zaboravljani dio hrvatske povijesti javnosti, a u planu je održavanje nekoliko izložbi, ali i daljnji rad na arhivskoj građi kako bi se proširile spoznaje. Nadamo se da će naš projekt potaknuti i druge studente, naročito kolege srodnih humanističko-društvenih disciplina, da se okrenu novim načinima prezentacije znanstvenih spoznaja, jer za takve oblike izražaja u današnjem svijetu očito postoji veliki interes. Bulwark of Europe– Digitizing the Habsburg-Ottoman Frontier is a project studying the early history of the Croatian and Slavonian Military Frontiers. The main objective of the project is to present the past in an interactive way, hence its orientation to digitization and visualization of historical sources. The project hosts a website presenting various topics in military history in the form of essays, maps, interactive images, and 3D models. The materials are accessible and can be used by all age groups. We therefore hope that they will prove useful in the teaching of history, especially in light of recent developments in e-learning. The website systematizes various cartographic and written sources and features an overview of relevant research. The project team members have been working extensively on archival sources: we have transcribed, analyzed, and presented to wider audiences what is believed to be the earliest fully preserved military payroll pertaining to the Slavonian Military Frontier. In a short span of time the project has successfully presented an oftentimes neglected segment of Croatian history. We are actively working on organizing a number of exhibitions and will continue working on archival sources with the aim of expanding our knowledge. We hope to encourage fellow students, especially those studying for a degree in the humanities and social sciences, to turn to new approaches in presenting research results.

Rad nagrađen Rektorovom nagradom Sveučilišta u Zagrebu u akademskoj godini 2016./2017. Razni su autori predložili istaknutu ulogu filmskih naslova u razumijevanju filma u cjelini pri čemu prije svega naglašavaju apelativnu funkciju naslova koja za cilj ima navesti adresata poruke na konzumiranje proizvoda. Budući da se uz tekst filma kao djela za ciljno tržište načelno prevodi i naslov, odlučili smo provesti analizu strategija prevođenja filmskih naslova na hrvatski i njemački jezik. Izradili smo dva korpusa sastavljena od originalnih filmskih naslova (uglavnom na engleskom jeziku) i njihovih prijevoda na hrvatski i njemački jezik. U prvome korpusu analizirani su prijevodi 935 filmskih naslova koji su stajali za filmove praizvedene između 1923. i 2016. Prijevodi su kategorizirani prema korištenim strategijama prevođenja. Model strategija prevođenja izrađen je s obzirom na manipulacije značenjskim i/ili specifičnim jezičnim strukturama iz originala. Prvi smo korpus i dijakronijski analizirali kako bismo ustanovili eventualne promjene trendova i pokušali objasniti te promjene. Drugi je korpus korišten za analizu prijevoda naslova horora i romantičnih komedija kako bismo provjerili ima li žanr utjecaj na odabir strategije prevođenja naslova. Iz drugog smo korpusa analizirali prijevode 80-ak originalnih naslova horora i 60-ak originalnih naslova romantičnih komedija prema istome principu kao i prijevode iz prvog korpusa. Rezultati naše analize sugeriraju razlike u odabiru strategija prevođenja za hrvatsko i njemačko govorno tržište. Dok su naslovi na hrvatski jezik uglavnom izravno prevedeni, najčešća strategija prevođenja za njemačko govorno tržište je prijepis originalnog naslova, a često je i dodavanje struktura koje nisu prisutne u originalu. Analiza naslova horora i romantičnih komedija upućuje da i žanr filma utječe na odabir strategije prevođenja, s razlikama između dvaju tržišta. Numerous authors have proposed that film titles have a notable role in understanding the film as a whole whereby they accentuate the appellative function of the title with the goal of convincing the addressee of the message to purchase the product. Since not only the text of the film but also the title is translated as a product for a targeted market, we have decided to conduct an analysis of the strategies on translating film titles into the Croatian and German languages. We have comprised two corpora consisting of original film titles (primarily in the English language) and their translations into the Croatian and German languages. In the first corpus, we analyse 935 translations of film titles which have been first screened in a time period from 1923 to 2015. The translations of the titles are categorized according to the applied translation strategies. The model of the strategies is formed by taking into consideration the manipulations through semantic and/or specific linguistic structures from the original. We also conduct a diachronic analysis of the first corpus in order to determine possible changes in the trends and we try to explain those changes. The second corpus is used for the analysis of the translations of horror and romantic comedy titles in order to determine if the genre influences the choice of the title translation strategy. We analyse the translations of approximately 80 original horror titles and approximately 60 romantic comedy titles according to the same principle as the translations from the first corpus. The results of our analysis suggest that there are differences in the selection of translation strategies for the Croatian and the German speaking markets. While the titles for the Croatian market are usually directly translated, the most common translation strategy for the German speaking market is the transcription of the original title, it is also common to add structures in German which are not present in the original. The analysis of horror and romantic comedy titles suggest that the genre also influences the selection of the translation strategy, with distinct differences between the two markets.