Postmodern reading of a fairy-tale: Fiction, dreams and fragments of personality in the nonsense game of Carroll's wonderful underworld

Rad se bavi nekim od uvijek prisutnih pitanja o ljudskoj prirodi, jeziku te smislu malih i velikih životnih priča. Pod pretpostavkom postmodernističke vizije, sve velike priče nad malima su izgubile značaj, svako se značenje dekonstruira, izvrće i traga se za nekim suprotnim, a isti je slučaj i s čovjekovom ličnosti koja se fragmentira u nemjerljiv broj komadića. Slično čini Lewis Carroll glasovitom Alisom u Zemlji čudesa koja se svijetu predstavila 1865. godine. Iako Carrollovo djelo ne pripada razdoblju postmoderne, ostavlja dojam da je u njenu duhu satkano, stoga ovaj rad L. Carrolla – osim ocem fantastike i pretečom nadrealizma – smatra i postmodernistom prije postmodernizma. Kroz dijelove priče vrši se interpretacija likova, stilskih obilježja i jezika, a u fragmentima glavne junakinje pronalaze se fragmenti čovječanstva čija priroda poput Alisine neprestano traga za smislom u beskraju besmisla. Pri tumačenju pretežno se koriste ideje postmodernističke filozofije značajnih autora poput J. F. Lyotarda, F. de Saussurea, F. Nietzschea; dok se u okvirima psihoanalitičke teorije oslanja na njezine glavne predstavnike – S. Freuda i C. G. Junga. Posebno se iščitava narativ sna u kojemu je priča izgrađena te zajednički jezik bajki i snova – riznicama nesvjesnih tvorevina. Jezične igre, obaranje logike, nonsensna komika i iluzija stvarnosti elementi su Carrollovog djela, ali i postmoderne realnosti. Čitanjem brojnih teorija i primjenom na konkretne materijale zaključak je da smo svi mi Alisa u Zemlji čudesa, a čitanjem ovoga rada moguće je otkriti zašto.This thesis addresses some of the ever-present questions about human nature, language, and the meaning of big and small life stories. Assuming a postmodern vision, all great stories over small ones have lost their meaning, every meaning is deconstructed, distorted and some opposite is sought, and the same is the case of the human personality which is fragmented into an immeasurable number of pieces. Lewis Carroll makes pretty much the same with famous story about Alice in Wonderland, which introduced to the world in 1865. Although Carroll's work doesn’t belong to the postmodern period, it gives the impression that it is woven in postmodern spirit, so this work is considered by Carroll - in addition to being the father of fiction and the forerunner of Surrealism - a postmodernist before postmodernism. Through the parts of the story, the characters, stylistic features and language are interpreted, and in the fragments of the main character, fragments of humanity are found whose nature, like Alice, is constantly searching for meaning in the infinity of nonsense. The ideas of postmodernist philosophy of significant authors such as J. F. Lyotard, F. de Saussure, F. Nietzsche are mostly used in the interpretation; while within the framework of psychoanalytic theory it relies on its main representatives – S. Freud and C. G. Jung. The narrative of the dream in which the story is built is especially read, as well as the common language of fairy tales and dreams - the treasuries of unconscious creations. Language games, breaking logic, nonsense comedy and the illusion of reality are elements of Carroll's work, but also of postmodern reality. By reading numerous theories and applying them to concrete materials, the conclusion is that we are all Alice in Wonderland, and by reading this paper it is possible to discover why