In the era of what Selden, Widdowson, and Brooker call "post-theory," presenting us with theory that is exhausted due to an ever-increasing difficulty in coming up with any clear-cut categorizations, Salman Rushdie's prolific, multifarious oeuvre epitomizes contemporary literature's incessant tendency to evade classifications. Being in between cultures, traditions, genres, conventions and influences, Rushdie's work, often described as hybrid and cosmopolitan, can and should be read from a variety of perspectives. In a time when we are questioning the appropriateness of terms such as "postcolonial" and wondering if more general ones, such as "transnational," "transcultural," or "international," would be better suited for today's literature, this article analyzes Rushdie's fiction between categories as gradually swerving away from postcolonial postmodernism toward cosmopolitanism, with special focus on The Ground beneath Her Feet, in an attempt to address and answer the controversial question of whether we are indeed moving toward a global(ized) literature. KEYWORDS Cosmopolitan(ism); global(ized); postmodern(ism); postcolonial(ism); Salman Rushdie Literary Cosmopolitanism and Global(ized) Literature In the 2005 edition of their guide to contemporary literary theory, Selden, Widdowson, and Brooker point out yet again that we live in a time of post-theory, when "theory […] seems anyway not to be about literature," "the days of theory […] are over," or rather we have reached "the end of theory" (267), with literature, once at the heart of the theoretical project, being neglected by what theory there is and politicized: "the distinctive mark of the literary has been overlaid by the imperatives of race, sexuality, gender" (Selden, Widdowson, and Brooker 269). One need not despair, though, the authors assure us, for it is not an apocalypse but a reorientation (267). A significant contribution to that reorientation is made by a now-substantial body of works in the field of cosmopolitan theory-Berthold Schoene's The Cosmopolitan Novel, Philip Leonard's Literature after Globalization, Katherine Stanton's Cosmopolitan Fictions, and Vinay Dharwadker's Cosmopolitan Geographies are some noteworthy titles-which takes late twentieth and twenty-first century literary cosmopolitanism as one of its foci of interest in the context of contemporary forms and discussions of globalization, while also looking back to earlier times and traditional notions of cosmopolitanism. As a phenomenon, "an attitude and disposition," or "a strategy of resistance" (Schoene 2, 5), cosmopolitanism is no novelty. Like globalization, with which it is inextricably and as yet indeterminately related, it can be traced back to the Renaissance, according to Leonard, the Middle Ages, as suggested by Cosmopolitan Geographies, or antiquity-the very word "cosmopolitan" derives from the ancient Greek word "kosmopolitês." What in Schoene's opinion distinguishes contemporary cosmopolitanism is that it signals "a departure from traditional internationalist perspective...

Magic(al) realism has for long attracted critical attention as one of the more theoretically elusive concepts which has been termed magic, magical, and magic(al), interpreted as a narrative genre, mode, or strategy, and analyzed alongside similar terms and neighbouring genres. While it briefly summarizes the troubling terminology associated with magic(al) realism, this paper focuses on the cultural significance of-magic(al) realism for postcolonial writing, and delves into its role as a strategy of resistance in the representation of culture and history, its destabilizing project, and the possible pitfalls in its employment.

Will Self's Dorian: An Imitation recasts the decadence and wit of Oscar Wilde's narrative as the full-blown excess of image-obsessed contemporary Britain riddled with drugs, AIDS, and terminal boredom. Brutal satire and imagery of death, war, disease, and destruction align the novel with the contemporary genre of transgressive fiction which has established a new satiric tradition. The aim of this article is to analyse Self's novel within that tradition by examining the antihero as the epitome of his age and the city as the transgressive locus terribilis.

141АРИЈАНА ЛУБУРИЋ ЦВИЈАНОВИЋ пи сцака рип скогпо ре кла,одли не ар нена ра ци јеијед но став ног ре а ли зма до сло же ног жон гли ра ња гла со ви ма и ме ђу соб ноис пре пле те нихпри по вед нихни ти 1 не сум њи вона ли ку јеонојко јујеро манпре шаоод19.ве кадода нас,ка дагаје свете жеде фи ни са тиисме сти тиуја снооме ђе нефор мал не окви ре.Из ли шнојена бра ја тика квисесвежан ров скиина ра тив ни екс пе ри мен ти да нас на зи ва ју ро ма ном, но су де ћи поКу ци ју,чи јаоства ре њаФо(1986)иДнев никло шего ди не (2007)иса мапо ка зу јутен ден ци јукаекс пе ри мен ту,упр кос то мештојеро манвећде це ни ја мару жди јев скосто гла вочу до ви ште, оп ста је и тра ди ци о нал но по и ма ње ове фор ме по ком се она до жи вља ва као про зни текст из ве сне ду жи не с јед ним глав ним за пле том.2 Та квом, из да на шње пер спек ти ве по ма ло огра ни че ном схва та њу ро ма на су прот ста вља се мно штво са вре ме них де ла хи брид них или нео д ре ђе них жан ро ва, фраг мен тар них фор ми, раз у ђе них и по ли фо них на ра тив нихструк ту ра,тесло же нихза пле та,штојена ро чи тоиз ра же ноуно вомко смо по лит скомро ма ну.Не ће мопре те ра тиакока же модако смо по ли ти замукњи жев но стипо сто јијошодан тич когдо ба,ко јенамјеипо да ри ло речко смо по ли таузна че њугра ђа ни насве та.Уно ви јојисве бо га ти јој те о ри ји о књи жев ном ко смо по ли ти зму, чи ји су Бер толдШон(Bert holdScho e ne),Фи липЛе нард(Phi lipLe o nard),Ке тринСтан тон(Kat he ri neStan ton)иВи нејДар вад кер (Vi nay Dhar wad ker) тек не ки од ис так ну тих пред став ни ка, онсеиз у ча ваупра воодан ти ке,апо томсред његве каире не сан се.Ко смо по лит скиетоска рак те ри шеимо дер ни стич кетек сто веко јиоди шуиз ве сномтен зи јомупо гле дуза јед ни цеина ци о нал но сти,пре но се ћипи та њеза јед ни цеули ми нал нузо нугдеонапо ста јеисто вре ме ноло кал наисвет ска, чи месепре и спи ту јеод носиз ме ђуза јед ни цеико смо по ли ти зма. 3Истиод носре де фи ни шесеика сни јето ком20.ве ка ипо себ ноу21.ве ку,ка даубр за нито ко вигло ба ли за ци јеи ди ги тал на ко му ни ка ци ја за јед ни цу од ре ђу ју из ван кон тек стана ци о нал но сти,ет ни ци те таислич нихобе леж јатра ди ци о нал нихкон це па таза јед ни це.Упра восе,из ме ђуоста лог, на то фо ку си ра ју но ви ја ко смо по лит ска про за и те о ри ја о ко смо по ли ти зму,гдесеза јед ни цаод ре ђу јепре вас ход нокао за јед нич коби ти са њеиз вангра ни цало ка ли те та,поузо руна те о ри ју ЖанЛи ка Нан си ја (JeanLuc Nancy). Ко смо по лит скиетосикон цепттран сна ци о нал не,паитран спро стор не

Set in the nineteenth-century American Southwest, Cormac McCarthy’s Blood Meridian rewrites the conventions of the western genre through a historically informed fictionalized account of the Glanton gang. As part of McCarthy’s subversive literary oeuvre, the novel intends to deromanticize the western’s underlying myths and dismantle its binaries, as well as to expose the brutality of the frontier and reflect on violence as a historiographic condition. Within studies of the western, McCarthy’s work, and transgressive literature, this article wishes to contribute to the existing discussions of McCarthy’s writing by examining Blood Meridian as a critical postmodern western or anti-western, and analyzing its strategies of demythologizing the West and the western.