o:9174 „ПРИЧА ЈЕ ОСНОВНИ ПРИНЦИП УМА.“ НАРАТИВНА ЕМПАТИЈА У ЗБИРЦИ ДОКУМЕНТАРНИХ ПРИЧА ЗАШТО САМ УБИЛА ЉИЉАНЕ БИНИЋАНИН sr У оквиру ауторовог шире заснованог проучавања нара- тивне емпатије у фикционалним и документарним формама наратива, у овом раду се на примеру збирке документарних прича Зашо сам убила Љиљане Бинићанин испитује тврдња Марка Тарнера изложена у књизи Књижевни ум (The Literary Mind) – да је већи део нашег искуства, знања и размишљања организован као приче, те да је прича „основни принцип ума“. Полазећи од ставова психолога Мартина Хофмана и етичарке Марте Нусбаум да књижевна емпатија доприноси развоју моралности, и ослањајући се на истраживања посткласичних нарато- лога Монике Флудерник о искуству и наративности, теорију урањања Мари-Лор Рајан, когнитивна изучавања Снежане Милосављевић Милић и, посебно, на теорију наративне емпатије Сузан Кин, аутор настоји да одговори на питање у којој мери композиционе основе збирке и принципи уланчавања прича подстичу наративну емпатију, а тиме и очување и размену непоновљивог трауматичног искуства „смртног и смртоносног бића“– homo mortalisa. Within the author’s widely founded study of narrative empathy in fictional and documentary forms of narrative in this paper based on authentic story-telling of heroine-convict in the collection of documentary stories Why I Killed of Ljiljana Banićanin is examined the assertion of Mark Turner expressed in the book The Literary Mind – that a larger part of our experience, knowledge and thinking is organized as a story, so that the story is “a fundamental principle of intellect”. In the first, theoreti- cal unit, relationship of human experience, narrative and phenomenon of empathy in the twilights of contemporary interdisciplinary researches is explained: psychologist Martin Hoffmann and ethicist Marta Husbaum on literary empathy and development of morality of post-classical narrator of Monique Flundernich on the experience and narrative, theory of immersion of Marie-Laure Rayan, cognitive studies of Snežana Milosavljević Ilić, and, especially, theory of narrative empathy of Susanne Kin. The fact that those literary procedures and techniques contribute to the appearance of narrative empathy is confirmed by the narrative analysis of the collection Why I Killed conducted in the second unit of the paper. Besides, it was shown in which measurement compositional fundaments and principles of stories chaining were giving incentives to narrative empathy.Each story has got similar composition. Firstly, we learn the story-telling of the convict itself, which confirms that story-telling in the first person dominates absolutely in the challenge of learning empathy. Afterwards, external focalization is coming: court records and testimonies, which by the tone of cold objectivity make contrast to the shocked I-story-telling creating the impression that the law does not go in compliance with the principles of justice and literary truth – the one which is known by the empathic reader. Chapters in which the author (external story-teller, recorder) is talking to each of the convicts confirms that narrative empathy is spurred by the situation in which the narration is taking place “face to face” and in these stories it is about ambassador’s strategic empathy. Introductory parts, “confluents” and epilogues of stories belong to the editor (recorder, commentator, and interlocutor) which is going from external to internal perspective, from heterodiegetic story-teller at the first to sincere interlocutor at the third level. By his observations, sense for detail, sympathy and empathy seams of each story are coloured, but it is not the participant of the events of the central narration so that the reader cannot establish emotional connection. Having appeared at the transition from the one into another narrative/ontological reality, that story- teller-recorder-interlocutor shows himself as one of us to his empathy and altruism is being counted on and as the one who knows more on the heroines since he has taken from the source (over)personal experience of trauma. Narrative empathy so helps the preservation and exchange of unrepeatable traumatic experience of “mortal and deadly being“ – homo mortalis.Despite multiple chaining of stories (formal and thematic, common chronotop, including educational-social status of heroines), each act of killing is accompanied by unique circumstances and unrepeatable human destiny. In a dynamic, two-way process existential prototypes were turned into characters, which in the consciousness of readers revive once again in “the personality” clear character traits and subjective features. Are the heroines of this collection victims of destiny-case or it may be avoided is the issue which this book impose to the society and, by means of reader’s empathic inconvenience, invites it to responsibility and altruistic engagement наративност, људско искуство, (наративна) емпатија, ментална симулација, урањање, исповест, убиство, жртва-убица, алтруизам, књижевност. Narrative, human experience, (narrative) empathy, mental simulation, immersion, confession, murder, victim-killer, altruism, literature. 91552100 COBISS.SR-ID 147531273 2026-03-03T12:28:21.934Z 44 no 46 Мирјана М. Бечејски Институт за српску културу Приштина-Лепосавић 0000-0002-2557-7936 application/pdf 237685 https://unilib.phaidrabg.rs/o:9174 no yes 1 70 92000001 71A06 УБИСТВО И САМОУБИСТВО У НАУЧНОМ И УМЕТНИЧКОМ СТВАРАЛАШТВУ 39 54 2024